artresearch.com.au

The Scheding Index of Australian Art & Artists

Search or browse the Index to locate biographical information
on Australian artists more details»


Showing 158,397 records of 158,397 total. We are displaying one thousand.

First | Previous | Record 108,051 – 109,050 of 158,397 | Next | Last

Bailey Johnview full entry
Reference: THIELE, Colin. GLOOP THE BUNYIP. Illustrated by John Bailey.
Publishing details: Brisbane. Jacaranda Press. 1962. Col.ill.bds. unpag. (46pp.) Many colour and part colour illustrations throughout.
Ref: 1000
Coulter R Wview full entry
Reference: WELLS, Ernest. MASTER DAVY'S LOCKER. A Story of Adventure in the Undersea. Illustrated by R.W. Coulter.
Publishing details: Syd. A & R. 1935. 4to. Or.ill.bds. Dustjacket. 131pp. Many b/w ills.
Ref: 1000
ADVERTISING SIGNSview full entry
Reference: ARNOLD, Ken. AUSTRALIAN ADVERTISING SIGNS. Valuation Guide. In this guide to collecting Australian advertising signs, tins, & other objects of historical memorabilia from Australia's retail past. Ken Arnold guides you through some of the
Publishing details: Golden Square, VIC. Crown Castleton 1996. Col.Ill. wrapps. 64pp. Light wear to corners. col & b/w ills. 1st ed.
Ref: 1000
Australasian Artists at the French Salonsview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
French Salons and Australian artview full entry
Reference: see Australasian Artists at the French Salons, by Tom Thompson. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Salon paintingview full entry
Reference: see Australasian Artists at the French Salons, by Tom Thompson. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Thompson Tomview full entry
Reference: see Australasian Artists at the French Salons, by Tom Thompson. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Staines Allanview full entry
Reference: TAKE ME BACK TO THE EIGHTIES: REFLECTIVE SKETCHES FROM BRISBANE TO THE COAST
Publishing details: Caloundra: Allan Staines, 1982.
First Edition. Signed by Author
21cm x 26cm. 64 pages, black and white illustrations. White cloth, illustrated jacket.
Ref: 1000
Yurana Adina view full entry
Reference: POTPOURRI OF SEX, by Adina Yurana. unrecorded in Trove or OCLC.
Publishing details: Sydney: Howard Productions, 1972.
First Edition.
18cm x 12cm. [156] pages, black and white illustrations. Pictorial wrappers.
Fully illustrated throughout with black and white pinup and softcore photographs with comical captions opposite.
Ref: 1000
Castle Jview full entry
Reference: see The Book Merchant Jenkins catalogue, May, 2021:
WATERCOLOURS BY J. CASTLE
J. Castle
: J. Castle, No date.
Original Paintings.
Various sizes. 22 original watercolours.
Set of original watercolours by J. Castle, twenty of which are seascapes featuring a single boat, and one of a windmill on a grassy hill.
Most of the paintings are loose in plastic sleeves in a presentation folder, a few are mounted with a loose grip adhesive to the backing sheet and one is pasted to the front cover of the presentation folder. Paintings are in Fine Condition. Minor wear and soiling to the folder. Near Fine Condition.
Milledge Russellview full entry
Reference: see Viola Tusk 4

Claine Keily, Clair Hague, Javant Biarujia, Misha, Philip Sipp, Russell Milledge
Sydney: Viola Tusk Press, 1990.
First Edition. Signed by Author

21cm x 15cm. [68] pages, [5] colour photographs. Wrappers.

Limited edition artist book featuring words by Javant Biarujia, Claine Keily, Misha, and Philip Sipp. 5 mounted photo manipulation pieces by Clair Hague and Russell Milledge. Limited to 200 copies and signed by the press, this is number 119.
Publishing details: Sydney: Viola Tusk Press, 1990.
Hague Clair view full entry
Reference: see Viola Tusk 4

Claine Keily, Clair Hague, Javant Biarujia, Misha, Philip Sipp, Russell Milledge
Sydney: Viola Tusk Press, 1990.
First Edition. Signed by Author

21cm x 15cm. [68] pages, [5] colour photographs. Wrappers.

Limited edition artist book featuring words by Javant Biarujia, Claine Keily, Misha, and Philip Sipp. 5 mounted photo manipulation pieces by Clair Hague and Russell Milledge. Limited to 200 copies and signed by the press, this is number 119.
Publishing details: Sydney: Viola Tusk Press, 1990.
On Fire: Climate & Crisisview full entry
Reference: On Fire: Climate & Crisis, by Tim Riley Walsh.
“On Fire: Climate and Crisis accompanies the exhibition of same name curated by Tim Riley Walsh. Designed by Brisbane’s Studio Bland with a heat-responsive cover, this catalogue features newly commissioned texts from Amelia Barikin, Shannon Brett, Chari Larsson, Kevin O’Brien, Rachel O’Reilly and Tim Riley Walsh alongside full colour documentation from Carl Warner and Louis Lim.
The texts collected in On Fire: Climate and Crisis contextualise the exhibition and the work of its fifteen featured artists, looking to the past, present, and future via colonialism’s legacies, fire’s cultural relativity, and art’s insights in a troubled era.” (publisher’s blurb)
Publishing details: Brisbane: Institute of Modern Art, 2021.
First Edition, 120 pages, colour illustrations. Illustrated french fold wrappers.

Ref: 1000
Wright Judithview full entry
Reference: Veil: Installations, Books and Video Walks. Foreword by Michael Snelling.
Publishing details: Brisbane: Institute of Modern Art, 1998.
First Edition. 59, [3] pages, colour illustrations.
Ref: 1000
Cook Michaelview full entry
Reference: Civilised, by Michael Cook
“This body of work dresses Aboriginal Australians in the fashions of four European countries that visited Australia before and in the early stages of colonialisation: Spain, The Netherlands, England and France. It asks ‘what makes a person civilised?’ and suggests how different history might have been if those Europeans had realised that the Aborigines were indeed civilised.” (artist’s statement)
Publishing details: Brisbane: Andrew Baker Art Dealer, 2012.
First Edition.

21cm x 21cm. [24] pages. Pictorial saddle-stapled wrappers.
Ref: 1000
Coad Peterview full entry
Reference: Paintings and Drawings for the Film, The Tracker, by Peter Coad
:
Publishing details: Peter & Rosalie Coad, 2002.
First Edition. 59 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Plentyview full entry
Reference: Plenty: Women Artists of Townsville.
Catalogue of works with short biographies on Barbara Cheshire, Sylvia Ditchburn, Jackie Elmore, Marion Gaemers, Jane Hawkins, Connie Hoedt, Anne Lord, Karla Pincott, Trudi Prideaux, Anneke Silver, and Margaret Masse Wilson.
Publishing details: Sylvia Ditchburn
Townsville: Perc Tucker Regional Gallery, 1996.. [i], v, 29, [1] pages, colour illustrations. Pictorial saddle-stapled wrappers.
Ref: 1000
Townsville artistsview full entry
Reference: Plenty: Women Artists of Townsville.
Catalogue of works with short biographies on Barbara Cheshire, Sylvia Ditchburn, Jackie Elmore, Marion Gaemers, Jane Hawkins, Connie Hoedt, Anne Lord, Karla Pincott, Trudi Prideaux, Anneke Silver, and Margaret Masse Wilson.
Publishing details: Sylvia Ditchburn
Townsville: Perc Tucker Regional Gallery, 1996.. [i], v, 29, [1] pages, colour illustrations. Pictorial saddle-stapled wrappers.
Above and Beyond: Austral/Asian Interactionsview full entry
Reference: Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
“Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.”
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Ref: 140
Asian Interactions with Australian artview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling
“Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.”
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Mills Wendyview full entry
Reference: Wendy Mills
“Wendy Mills has been recognised as a leading Australian Artist for over twenty years. With concerns that have been more ideological than theoretical, she has maintained a consistent clarity in her aesthetic and produced work increasingly outside of the mainstream art gallery arena. Her desire for this type of practice has led her into areas such as engineering, design and performance, with many of the pieces being realised through interdisciplinary collaborations.”
Publishing details: Brisbane: Institute of Modern Art, 2003.
First Edition. 56 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Habitatview full entry
Reference: Habitat: Artworks and Stories of Pine Rivers Gardens, by Lynette Letic, Renata Buziak
Catalogue of biochrome artworks by Renata Buziak accompanied by photographs by Lynette Letic of gardeners, their gardens, and short texts by them, in the Greater Brisbane Region.
Publishing details: Brisbane: Rough Paper Press, 2015.
First Edition. 32 pages, colour illustrations and photographs. Illustrated saddle-stapled wrappers.
Ref: 1000
Letic Lynette view full entry
Reference: see Habitat: Artworks and Stories of Pine Rivers Gardens, by Lynette Letic, Renata Buziak
Catalogue of biochrome artworks by Renata Buziak accompanied by photographs by Lynette Letic of gardeners, their gardens, and short texts by them, in the Greater Brisbane Region.
Publishing details: Brisbane: Rough Paper Press, 2015.
First Edition. 32 pages, colour illustrations and photographs. Illustrated saddle-stapled wrappers.
Buziak Renata view full entry
Reference: see Habitat: Artworks and Stories of Pine Rivers Gardens, by Lynette Letic, Renata Buziak
Catalogue of biochrome artworks by Renata Buziak accompanied by photographs by Lynette Letic of gardeners, their gardens, and short texts by them, in the Greater Brisbane Region.
Publishing details: Brisbane: Rough Paper Press, 2015.
First Edition. 32 pages, colour illustrations and photographs. Illustrated saddle-stapled wrappers.
Performance Design in Australiaview full entry
Reference: Performance Design in Australia, Imogen Ross, Kristen Anderson.
With Eamon D’Arcy, Derek Nicholson, and Pamela Zeplin.
Publishing details: Sydney: Craftsman House, 2001.
First Edition. 240 pages, colour photographs. Black cloth, pink lettering, pictorial jacket.
Ref: 1000
Nolan Sidneyview full entry
Reference: Meet… Sidney Nolan. Illustrated by Sandra Eterovic, written by Yvonne Mes.

An illustrated biography of Sidney Nolan for children.
Publishing details: Sydney: Random House, 2015.
First Edition. Inscribed by Author

23cm x 29cm. [34] pages, colour illustrations. Illustrated matte papered boards.
Eterovic Sandra view full entry
Reference: see Meet… Sidney Nolan. Illustrated by Sandra Eterovic, written by Yvonne Mes.

An illustrated biography of Sidney Nolan for children.
Publishing details: Sydney: Random House, 2015.
First Edition. Inscribed by Author

23cm x 29cm. [34] pages, colour illustrations. Illustrated matte papered boards.
Creative Directory to Australia 1982- 85view full entry
Reference: The Creative Directory to Australia 1982/83, 1983/84, 1985 (3 Volumes)
The contact directory for Australian Creatives in the 1980s. Lists names, address, and phone numbers for individuals and agencies for any creative job from photographers, film production, and musicians, to model agencies, advertising, P.R., and more. Provided to Australia’s top advertiser’s these books were where to be found for advertising industry gigs.
Publishing details: Creative Publications
Hong Kong: Creative Publications, 1983.
First Edition.

25cm x 14cm. 3 volumes. Ring bound lettered boards.
Ref: 1000
Directory of artists 1982- 85view full entry
Reference: see The Creative Directory to Australia 1982/83, 1983/84, 1985 (3 Volumes)
The contact directory for Australian Creatives in the 1980s. Lists names, address, and phone numbers for individuals and agencies for any creative job from photographers, film production, and musicians, to model agencies, advertising, P.R., and more. Provided to Australia’s top advertiser’s these books were where to be found for advertising industry gigs.
Publishing details: Creative Publications
Hong Kong: Creative Publications, 1983.
First Edition.

25cm x 14cm. 3 volumes. Ring bound lettered boards.
Brown Leonard view full entry
Reference: Union With Reality: The Art of Leonard Brown.
Exhibition catalogue for Queensland artist Leonard Brown, being the first exhibition of both his abstract and Byzantine Icon works drawing from three decades of practice. This copy signed by Brown to the front flyleaf.
Publishing details:
Brisbane: QUT Art Museum, 2011.
First Edition. Signed by Author

23cm x 17cm. 68 pages, colour illustrations. Lettered wrappers.
Ref: 1000
Glory Days: Brisbane’s Art World to 1970view full entry
Reference: Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. [To be indexed fully]. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Brisbane Art World to 1970view full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Queensland Art view full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
What Is Appropriationview full entry
Reference: What Is Appropriation? An Anthology of Writings on Australian Art in the 1980s & 1990s, by Rex Butler.
It was probably Ad Reinhardt, though it could have been Sherrie Levine or even Andy Warhol, who remarked that you only know you are doing something original when everybody else is doing it. This book explores this and other paradoxes raised by the practice of appropriation the quotation and use of other artists’ work that became widespread in the 1980s. Why was the practice so uniquely popular in Australia? What did it say about the relationship of Australian art to the art of other countries; about white art to Aboriginal art; and about contemporary art to the art of the past? How and why does appropriation fundamentally challenge habitual ways of looking at pictures and thinking about art? The essays and pictures in this book provide answers to these questions, but always in the knowledge that the enigma of appropriation remains.”
Publishing details: Brisbane: Institute of Modern Art, 1996,
. 315 pages, colour illustrations. Illustrated wrappers.
Twelve Degrees of Latitudeview full entry
Reference: Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.
Queensland galleriesview full entry
Reference: see Twelve Degrees of Latitude: Regional Gallery and University Art Collections in Queensland, by Bettina MacAulay, Brett Adlington. An exhibition for the sesquicentenary of Queensland. Catalogue includes information about the galleries represented and works from their collections.
Publishing details: Brisbane: Museum and Gallery Services Queensland, 2009, 102 pages, colour illustrations.
Tuan Anh L Kview full entry
Reference: From My Cultural Journey to My Birthplace
- L. K. Anh Tuan
A retrospective catalogue of the work of Australian-Vietnamese visual artist L. K. Anh Tuan, with foreword and commentary by the artist himself.
Publishing details: Brisbane: L. K. Anh Tuan, 2016. 120 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Knox Alexanderview full entry
Reference: Maxims of Behaviour, by Alexander Knox

Catalogue for a large scale public art work involving light and architecture. DVD included.
Publishing details: Melbourne: City of Melbourne, 2009.
First Edition.

20cm x 21cm. [36] pages, colour photographs, 1 DVD. Pictorial french fold wrappers.
Ref: 1000
Dodd Margaretview full entry
Reference: This Woman Is Not A Car - Margaret Dodd

Publishing details: Sydney: The Cross Art Projects, 2017.
First Edition.
[24] pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Head in the Cloudsview full entry
Reference: Head in the Clouds - Ben Trupperbaumer, June Tupicoff, Ron McBurnie
Publishing details: Townsville: Gallery Services, Townsville City Council, 2017.
First Edition.

25cm x 28cm. 66 pages, colour illustrations. Illustrated wrappers.

Ref: 1000
Coen Margaretview full entry
Reference: From the Studio - Margaret Coen, by Meg Stewart.
Exhibition catalogue.
Publishing details: Sydney: Macquarie University, 2017.
First Edition.

20cm x 15cm. 45 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Recycled Libraryview full entry
Reference: Recycled Library: Altered Books. Alex Selenitsch, Artspace Mackay, Michael Wardell

A catalogue of works from the exhibition of the same name, which ran from September 4th to October 25th, 2009, at Artspace Mackay. Unnumbered edition of 1,500 copies.
Publishing details: Mackay: Artspace Mackay, 2009.
First Edition.
24cm x 17cm. 104 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Gittoes Georgeview full entry
Reference: Night Vision - George Gittoes

.
Publishing details: Brisbane: Mitchell Fine Art, 2016.
Ref: 1000
Berry Michaelview full entry
Reference: see Selected Contemporary Artists of Australia, by Michael Berry. ‘Looks at the works of 73 Australian artists.’ [to be indexed]
Publishing details: Krispin, 2003, hc, 148pp
Drawn with Love view full entry
Reference: Drawn with Love - Kathleen Shillam, Leonard Shillam

Publishing details: Brisbane: CopyRight Publishing, 2003.
Ref: 1000
Shillam Leonardview full entry
Reference: see Drawn with Love - Kathleen Shillam, Leonard Shillam

Publishing details: Brisbane: CopyRight Publishing, 2003.
Shillam Kathleenview full entry
Reference: see Drawn with Love - Kathleen Shillam, Leonard Shillam

Publishing details: Brisbane: CopyRight Publishing, 2003.
Zofrea Salvatoreview full entry
Reference: Immagini dai Salmi: Dipinti di Salvatore Zofrea, by Ted Snell

.
Publishing details: Basel: Gordon & Breach Arts International, 1993.
Ref: 1000
Working Spacesview full entry
Reference: Working Spaces: Art Practice in Process, by Daniel Mafe.
Exhibition catalogue of art and arts practice born from discussion between Daniel Mafe, Judith Wright, Jude Kentish, and Jill Barker.
Publishing details: Brisbane: Eyeline Publishing, 2002.
[vi], 90 pages, colour illustrations. Illustrated french fold wrappers.
Ref: 1000
Dobell Memorial Lecture 1981view full entry
Reference: The Sixth Sir William Dobell Memorial Lecture: “The Post-War Years in Australian Art. Some lessons for the future.” by Joseph Burke.
Sir William Dobell, or “Bill,” as he preferred to be called, was a renowned Australian portrait and landscape artist, and many great thinkers and artists have been invited to present the Memorial Lecture founded in his honour. In its sixth iteration, in 1981, it was given by Emeritus Professor Sir Joseph Burke, one of Australia’s most significant art historians and a remarkably gifted orator, who had just the year before been made a Knight Commander of the Order of the British Empire (KBE). In this short but insightful text, Burke addresses himself to propaganda, media and the roles of the museum and politics in the art of the day, providing entertaining, educational and spirited thinking as relevant today as it was then.
Publishing details: Sydney: The Sir William Dobell Art Foundation, 1982.

Ref: 1000
Painters and Sculptors: Diversity in Contemporary Australian Artview full entry
Reference: Painters and Sculptors: Diversity in Contemporary Australian Art, by Janet Hogan. Exhibition catalogue with essays on 44 Australian artists exhibited at the Queensland Art Gallery and at the Museum of Modern Art, Saitama, Japan. Each artist’s work is accompanied by a short essay. List of artists: Davida Allen, Bruce Armstrong, David Aspden, Geoffrey Bartlett, Peter Booth, Paul Boston, Rodney Broad, Micahel Buzacott, Peter Cole, Peter Ellis, John Firth-Smith, James Gleeson, Denise Green, Robert Hunter, Robert Jacks, Vincas Jomantas, William Kelly, Stephen Killick, Robert Klippel, Jan King, Les Kossatz, Lou Lambert, Clifford Last, Keith Looby, Akio Makigawa, Victor Meertens, Robert Morris, John Olsen, Fiona Orr, David Paulson, John Peart, Anthony Pryor, Tom Risley, Ron Robertson-Swann, William Robinson, Gareth Sansom, Jan Senbergs, Gordon Spepherdson, Ian Smith, Madonna Staunton, Imants Tillers, Hossein Valamanesh, Ken Whisson, and David Wilson.
Publishing details: Brisbane: Queensland Art Gallery, 1987,. 61 pages, colour illustrations. Illustrated wrappers.
40 Years and Counting: UQ Art Museumview full entry
Reference: 40 Years and Counting: UQ Art Museum, by Evie Franzidis
Exhibition catalogue for the exhibition ‘beyond the Tower’. A History of the UQ Art Museum.
Publishing details: Brisbane: The University of Queensland Art Museum, 2016.
First Edition.

26cm x 20cm. 96 pages, colour photographs. Pictorial french fold wrappers.
Ref: 1000
University of Queensland Art Museumview full entry
Reference: see 40 Years and Counting: UQ Art Museum, by Evie Franzidis
Exhibition catalogue for the exhibition ‘beyond the Tower’. A History of the UQ Art Museum.
Publishing details: Brisbane: The University of Queensland Art Museum, 2016.
First Edition.

26cm x 20cm. 96 pages, colour photographs. Pictorial french fold wrappers.
Lankester Joview full entry
Reference: Cornerstone - Jo Lankester
Catalogue for an exhibition held at the Perc Tucker Regional Gallery.
Publishing details: Townsville: Gallery Services, Townsville City Council, 2014.
78 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Matassoni Terry view full entry
Reference: Terry Matassoni: A Walk Into Town, by Caroline Field, Terry Matassoni

Publishing details: Geelong: Deakin University, 2003.
32 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Vesterberg Katarina view full entry
Reference: A Temporal View - Katarina Vesterberg

Publishing details: Brisbane: Andrew Baker Art Dealer, 2014. 30 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Walker Deborahview full entry
Reference: Daemons and Deities - Deborah Walker
Exhibition catalogue.
Publishing details: Brisbane: Andrew Baker Art Dealer, 2014.26 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Space Invadersview full entry
Reference: Space Invaders: Australian Street, Stencils, Posters, Paste-Ups, Zines, Stickers, by Jaklyn Babington.
Off the street and into the gallery. This exciting book looks at work from the past five years by some 35 contemporary artists from around Australia.
With Roger Butler, Din Heagney, Eloise Pierce and Alison Young.
Catalogue of an exhibition held at the National Gallery of Australia, Canberra, 30 October 2010 - 27 February 2011 and touring nationally in 2011.
Includes sticker sheet.
Includes bibliographical references.


Publishing details: Canberra: National Gallery of Australia, 2010. 129 pages, colour illustrations. Lettered boards, illustrated jacket.
Hypothetically Publicview full entry
Reference: Hypothetically Public, by Jenny Barrett, Michael Crayford
Exhibition catalogue.
Publishing details: Emu Plains: The Lewers Bequest and Penrith Regional Art Gallery, 1993. 56 pages, black and white illustrations. Illustrated wrappers.
Ref: 1000
Haunts & Folliesview full entry
Reference: Haunts & Follies. Catalogue for an exhibition of works by Penny Byrne, Sam Leach, Simon Mee, and Kate Rohde. Curated by Simon Mee.
Publishing details: Melbourne: Linden Centre for Contemporary Arts, 2012. 16 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Where are they now?view full entry
Reference: Where are they now? by John Hoare, Thomas Vale-Slattery
A study of the works of former arts students of the University College of Southern Queensland. [to be indexed]
Publishing details: Toowoomba: University College of Southern Queensland, 1990.
First Edition.

30cm x 21cm. 80 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
University College of Southern Queensland art studentsview full entry
Reference: see Where are they now? by John Hoare, Thomas Vale-Slattery
A study of the works of former arts students of the University College of Southern Queensland.
Publishing details: Toowoomba: University College of Southern Queensland, 1990.
First Edition.

30cm x 21cm. 80 pages, colour illustrations. Illustrated wrappers.
Halpern Deborah view full entry
Reference: see Ceramics - Deborah Halpern, Fiona Murphy

Exhibition catalogue.
Publishing details: Shepparton: Shepparton Art Gallery, 1990.
First Edition.

28cm x 21cm. 48 pages, colour illustrations. Lettered wrappers.
Murphy Fionaview full entry
Reference: see Ceramics - Deborah Halpern, Fiona Murphy
Exhibition catalogue.
Publishing details: Shepparton: Shepparton Art Gallery, 1990.
First Edition.

28cm x 21cm. 48 pages, colour illustrations. Lettered wrappers.
Good Vibrations: The Legacy of Op Art in Australiaview full entry
Reference: Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Ref: 140
Mehran Abbasview full entry
Reference: Abbas Mehran: Chapter One



Publishing details: Brisbane: Andrew Baker Art Dealer, 2004. Unnumbered edition of 1,000 copies.
Ref: 1000
See Pamelaview full entry
Reference: Pamela See: The Fold


Publishing details: Brisbane: Andrew Baker Art Dealer, 2010. Unnumbered edition of 500 copies.
Ref: 1000
Mee Simonview full entry
Reference: Shangri-Less, Simon Mee Artworks 2004-2014, by Rebecca Teo,

Publishing details: Melbourne: Melbourne Books, 2014.
First Edition.
Ref: 1000
McBurnie Ronview full entry
Reference: Metal As Anything - Ron McBurnie

Publishing details: Townsville: Perc Tucker Regional Gallery, 2009.
First Edition.
Ref: 1000
Atkin Mr S repousse classesview full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Early C20th. Maker unknown. Copper tray with gum nuts and leaves. Size: 0.8 x 25.8 x 13.1 cm
There are records in newspapers of the day that such work was very popular and was taught in “Mr S Atkin’s repousse classes at the Technical College”
One write-up described the work in 1915 of Emily Heist as “a clever Sydney artist in brass and copper repousse work”. After attending Mr Atkins classes Emily made her own designs, taking her inspiration from native flora in her garden. It was recorded that “She could take a plain piece of sheet copper or brass, and rapidly fashion it into a tray, ready for its decoration of wattle-bean, bush fuchsia, lillipillies, sheoak, gum leaves etc.” Emily worked in Coogee, NSW. She signed her work and is represented in AGNSW.
This hand beaten copper tray in the Arts & Crafts manner is decorated in each corner with motifs of gum nuts and gum leaves. It is unsigned, has a simple appearance and decoration, therefore perhaps a student piece.
An interesting paragraph explains the process of manufacture: “Hammering, hammering on the sand bag, annealing the article by fire, beating it on the steel anvil, into perfect shape, or in its setting of pitch, pricking out the design always with the copper or brass, kept at white heat by means of a gas jet, plenishing the leaves and working to a finish, using dozens of different mallets and punches, one can't say the work is exactly easy. 'But It is very interesting,' said Miss Leist, ‘and I love it. Just look what one can create.'
Heist Emily view full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Early C20th. Maker unknown. Copper tray with gum nuts and leaves. Size: 0.8 x 25.8 x 13.1 cm
There are records in newspapers of the day that such work was very popular and was taught in “Mr S Atkin’s repousse classes at the Technical College”
One write-up described the work in 1915 of Emily Heist as “a clever Sydney artist in brass and copper repousse work”. After attending Mr Atkins classes Emily made her own designs, taking her inspiration from native flora in her garden. It was recorded that “She could take a plain piece of sheet copper or brass, and rapidly fashion it into a tray, ready for its decoration of wattle-bean, bush fuchsia, lillipillies, sheoak, gum leaves etc.” Emily worked in Coogee, NSW. She signed her work and is represented in AGNSW.
This hand beaten copper tray in the Arts & Crafts manner is decorated in each corner with motifs of gum nuts and gum leaves. It is unsigned, has a simple appearance and decoration, therefore perhaps a student piece.
An interesting paragraph explains the process of manufacture: “Hammering, hammering on the sand bag, annealing the article by fire, beating it on the steel anvil, into perfect shape, or in its setting of pitch, pricking out the design always with the copper or brass, kept at white heat by means of a gas jet, plenishing the leaves and working to a finish, using dozens of different mallets and punches, one can't say the work is exactly easy. 'But It is very interesting,' said Miss Leist, ‘and I love it. Just look what one can create.'
Clayton Samuel convict artistview full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
3. Bookplate by Samuel Clayton. 1818. Bookplate by Samuel Clayton for Charles Manigault. Size: 10.7 x 6.7 cm
This is currently the earliest documented bookplate of Australian origin, engraved by convict artist Samuel Clayton in 1818, for the visiting American merchant Charles Izard Manigault (1795-1874). While in Sydney on a trading voyage he commissioned Clayton to produce a bookplate for him. Manigault wrote to his family:
"I had some of my visiting cards engraved by one of those talented convicts, S Clayton of New South Wales, by placing my signature with its usual flourish in his hand, he imitated it perfectly..... He also did several hundred of my Coat of Arms, now my bookplates."
Several of these bookplates have survived. They emerge occasionally in the USA and sometimes are available in Australia. Amazingly historical items.
Clayton (1793-1853) was a Dubliner transported to NSW in 1816 reputedly for forgery. In Sydney he went on to have a distinguished career as a silversmith, engraver, art teacher and portraitist. He engraved the plates for the first issue of notes by the Bank of NSW in April 1817.
Sargison Harold (1885-1983) silversmithview full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Circa 1920s or 1930s. Size: 13.1 cm long. Weight 17g
This silver butter knife by Harold Sargison (1885-1983) of Hobart has all the attributes of the Arts and Crafts movement, from the simple design to the hand plenishing.
Sargison spent a 5-year apprenticeship with JW Quarmby from 1901-1905 and worked in the manufacturing jewellery business till 1919 possibly for George Miller from whom he purchased the business. From 1920-1981 he operated his own shop and following his retirement it was known as Sargison’s Jewellers.
Although the design is reminiscent of the Arts & Crafts style, the workshop marks are one of those that Sargison used after 1960. This is an indicator that Sargison reused earlier designs for much of his life.

Maguire Mary of Balhannah SAview full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Mary Maguire of Balhannah SA, creator and seller, 2021. Depicting an outback scene with a homestead, windmill, kangaroo, tree and crows. 20 x 15 cm
The purse was purchased at Mary’s stall at the Easter 2021 Meadows Fair (SA) on 2 April (Good Friday). She told the owner she had been felting for two years and it takes about four hours to create each piece.
Needle felting is begun by rolling up a small amount of wool and stabbing it with the needle. When the wool is stabbed with the felting needle it pulls the wool into itself. By stabbing the wool with the needle over and over while turning the wool it continues to pull wool into itself and the wool, with its tiny scales, locks together. Continued stabbing and turning results in a firm round shape. Once there is a basic shape to start with wool is added where it is needed to form a sculpture.

Melrose Wareview full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Circa 1932. Melrose Ware made by 'Hoffman Brick and Tile Company’ (Melbourne based). Size: 13.5cm high and circumference 28.5 = Diam. 9 cm
The Melbourne based brick works 'Hoffman Brick and Tile Company’ took over a small art-pottery in about 1932 and produced a range of decorative ceramics, called Melrose ware and almost invariably marked as such.
Courtesy of Robert Stevens and Greg Hill the owner found out that the modeller of the koala jug was a multi-talented gentleman called Ted Kaye.
The owner has several pieces from their range - mostly vases and planters - the koala remains a favourite of hers, but she also has some other interesting items by Melrose including an item that appears to depict the Qantas flying kangaroo before it was adopted by the airline.
Advertisements in the 1930’s claim “wonderful developments in Australian Pottery”, and Melrose pottery appears to be part of this, presumably in competition to imports. An advertisement in Herald (Melbourne) 10 May 1832, p 3. is entitled
“Here’s proof that Australians can make EXQUISITE POTTERY Melrose Pottery VASES
You will be delighted with this Australian Pottery! Manufactured by Hoffman Potteries, Brunswick. Vases and Bowls in artistically glazed effects, rich colourings.
New shapes and treatments. Priced at from 1/6 to 12/6. ...”.
Later that year Melrose art pottery is described “in lovely blue or green tonings. Newest squat shape with handles. Big range or other shapes and designs from 3/6 each.”
The Age 3 Apr 1935 p 11. An advertisement for Australian pottery in 1935 states:
“A delightful selection of inexpensive pottery is being specially shown at The Mutual. The display includes "Melrose," In blues, greens, pink and flambe; Campbell's Tasmanian Pottery, In green; Aboriginal Pottery, by Wm. Ricketts; and
Handcraft pieces by Merric Boyd, Castle Harris, Philippa James and The Austral Pottery. Prices range from as low as 1/3. China dept., third floor, THE MUTUAL STORE, op. Flinders-street station.”
See also item 12 from another contributor:
1930s. Melrose Ware. Size: each 14.3 x 10.3 x 6.5 cm
The label on the bookends reads ‘Mel-rose Ware, Made in Australia’ and has the remains of the production details, unfortunately some of the details have been eroded by abrasion. Please refer to the extensive information about Melrose ware with item 9.

Clark Margaret Grace view full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Margaret Grace Clark ‘Autumn Fairy’, 1901-1929. Coloured pen, ink and gouache drawing. Dimensions: 23.5 x 16 cm
Last year one of our members bought this painting at auction, a reminder of the fairy tale books of her childhood. The artist’s great niece, Vivien Kells, contacted her shortly afterwards as she is keeping a record of the works and runs a not-for-profit website Federation Fairies.

Margaret illustrated in coloured pen, ink and gouache drawings. In 1918, Margaret was commissioned to produce illustrations for Sweetacres, the confectionary manufacturers. Her only formal training was a brief term at the Julian Ashton School of Art in Sydney.
Margaret wrote short stories, poetry and illustrated in the children’s magazine Young Australia and in the
1st edition of the Steele Rudd Magazine published in Toowoomba. Angus and Robertson approached Margaret in 1920 to write and illustrate a book, which unfortunately was unable to be completed in the time frame.
In 1924, five of her illustrations were included among artists such as May Gibbs and Margaret Preston at the Sydney Society or Women Artists Annual Exhibition. Later in 1925 a series of 6 postcards were produced, which are now sought after by collectors.
In 1926 Margaret had a solo exhibition at the St James Theatre (now demolished) which was a great success ‘with rave reviews’ appearing in three major Sydney newspapers. All 23 illustrations sold at prices between 3.5 and 6 guineas. Unfortunately Margaret was duped out of the proceeds.
In July 1929 and December 1930 two large, coloured friezes were included as special supplements to the magazine “Australian Childhood.”
After her marriage in 1929, Margaret devoted herself to family life and raising her 3 boys and stopped producing her work.
Author, Robert Holden included 2 of Margaret’s illustrations in a 1985 publication “The Golden Age of Australian Fantasy”. He was unaware that Margaret was still alive until a niece attending the book launch arranged a meeting between the author and artist. Robert Holden was delighted and became the driving force behind the 1986 exhibition at the S.H. Ervin Gallery. Thirty of the estimated 120 + works were on display – just on 60 years after her first solo exhibition.
Some of her works are held at the Mitchell Library. The Dromkeen Collection in Victoria held a lot of her illustrations, the majority of which are now held in The State Library of Victoria. Art dealer Josef Lebovic has also sold her works.
Vivien and other family members still hold some of her works. Vivien reproduces copies of Margaret’s work through cards, posters and calendars. She has published a book -Discovering the Genius of Margaret Clark – from which (with Vivien’s permission) the above information was obtained.
Greenway E G potteryview full entry
Reference: see Eleventh Australiana Virtual Show and Tell Report, May 2021:
Circa 1950s. Made by EG Greenway pottery. Size: 11.5 x 32 x 9 cm
The EG Greenway pottery was established by Ellen and Herbert Greenway in 1944. Ellen had produced pottery items for many years, initially decorating blank pots purchased from the Hoffmans pottery works but later creating the pots from scratch before decorating them. Her business was quite successful. However, Ellen died in 1946 and her husband none-the-less kept the business in her name and purchased 4.5 acres in Blackburn where he built an ideal factory in her memory. "Her husband resolved to proceed regardless, and, acquiring 4.5 acres at Blackburn, declared that the complex would be a memorial to his late wife: "It must be lovely.

Everything about it must be expressive of the inspiring life of Ellen Grant Greenway – a beautiful building in a beautiful setting with ideal conditions for the workpeople"1.
Sunday Times (Perth) 28 Aug 1932 p 5 gives a description of some of her earlier work known as Leslie ware. ATTRACTIVE POTTERY DISPLAY Western Australian Wildflowers
E. G. Greenway Pty. Ltd. took over Mayfair Pottery Salon and Suedette Manufacturing Co. 98 St. David Street. Fitzroy Victoria in 1944.
The infinite variety of color and design found in Western Australian wildflowers has proved a source of inspiration to many an artist, whether for water color [sic], oils, china painting or wood work, and it is mainly owing to the work of these craftsmen that our native flora is so widely known.
China painting and water colors [sic] have, to date, been the most popular means of expression, but the wild flowers are now to be seen in a new form.
Messrs. Caris Bros, Jewellers, Barrack-street, conceived the idea of arranging for pottery to be designed with wild flowers, and, after negotiating with Melbourne, they have placed an attractive display on view. The pottery is neutral toned Leslie ware, and each piece is hand-painted by
E.G. Greenway. The designs cover a comprehensive range of flowers including boronia, spider and donkey orchids, wattle, Christmas bush, banksia, Geraldton wax, flowering gum, kangaroo paws, and leschenaultia.
The pieces take the form of vases, and range in size and shape from 3in. Grecian models, to 18in. Egyptian design. One dainty vase, in Chinese green, patterned with a delicate spray of fluffy wattle, another is a sturdy barrel-shape, toned in brown, and wrought with colorful [sic] flame flowering gum; a tall urn is stone colored [sic], showing brilliant Christmas bush, and leschenaultia adorns the pottery of all shapes and sizes. The diversity of patterns has already popularised the new ware, which is equally suitable for china rail decoration or utility ware.
Advertisements for staff continued till August 1954 after which the pottery presumably closed. Herbert Greenway died in 1977.
Addy Jview full entry
Reference: see Art Marketplace auction of the stock of Nevin Hirst, masterpiece gallery, Hobart on Sunday 30th May, 2021:
LOT 1
J Addy (Colonial School, Possibly Tasmanian 19th Century)
Portrait of a Boy with Toy Horse and Fishing Rod.
LOT 1
J Addy (Colonial School, Possibly Tasmanian 19th Century)
Portrait of a Boy with Toy Horse and Fishing Rod
Watercolour on Paper
Signed Location: Signed lower left
25 cm x 20 cm

Estimate: $2,500 to $3,500
Provenance: Contents of Dysart House, Kempton, Tasmania, Mossgreen, 23 October 2011, lot 526
Bedwell Edward Parker view full entry
Reference: see Art Marketplace auction of the stock of Nevin Hirst, masterpiece gallery, Hobart on Sunday 30th May, 2021:
LOT 2
Edward Parker Bedwell
Salmon Ponds, New Norfolk, 1873
Watercolour on Paper
Signed Location: Signed lower right
17 cm x 24.5 cm
Dinham George 1807-1886view full entry
Reference: see Art Marketplace auction of the stock of Nevin Hirst, masterpiece gallery, Hobart on Sunday 30th May, 2021:
LOT 10
George Dinham (1807-1886)
Deep Creek, Tasmanian River Landscape, 1883
Oil on Board
Signed Location: Signed & dated lower right
42 cm x 31.5 cm

Zofrea Salvaroreview full entry
Reference: Salvatore Zofrea : The Creation - 7 etchings, edition of 10
Publishing details: Macquarie Galleries, nd
Ref: 1000
Lik Peterview full entry
Reference: Equation of Time. With numerous, mostly color, double-page photographic illustrations. ‘Epic photobook of extremely stunning photographic panoramas, full of fascinating colour and magical moments, by multi-award winning Australian photographer Peter Lik.’
Publishing details: Las Vegas, Lik Fine Art Photography, 2015. 528 pp. 70 x 50 cm. Original half-leather binding in original canvas case with original cardboard box
Ref: 1000
Gould John 1804-1881view full entry
Reference: A century of birds from the Himalaya mountains. ‘Beautifully illustrated with 80 hand-colored lithographed plates depicting 102 birds, including hawks, owls, woodpeckers, hornbills and kingfishers, etc., drawn by Elizabeth Gould (1804-1841) from sketches by her husband. First number with colorless backgrounds (second number has plants and colorful backgrounds). Text by N. Vigors. John Gould learned taxidermy at Windsor Castle, where his father worked as a foreman of the garden team. In 1827, he became curator of the museum of the Zoological Society of London. The arrival in 1830 of a collection of exotic bird skins mainly from the Indian Himalayas enabled him to produce this first of his many superb folio bird books, later followed by the multiple volumes of Birds. of Europe (1832-1837) and Birds of Australia (1840-1848).

Publishing details: London, s.n., [1831-] 1832. Large folio (560 x 385 mm), [6-72] ff., 80 plates. Dark green half-sheepskin with corners, flats with gold fillets and cold-stamped friezes, titled and gold-decorated ribbed spine, gilded head, pink paper guards (period binding).
Very rare first edition, first issue of the first folio book on birds by the famous British ornithologist and naturalist
John Gould (1804-1881).
Ref: 1000
Gould Elizabethview full entry
Reference: see A century of birds from the Himalaya mountains. ‘Beautifully illustrated with 80 hand-colored lithographed plates depicting 102 birds, including hawks, owls, woodpeckers, hornbills and kingfishers, etc., drawn by Elizabeth Gould (1804-1841) from sketches by her husband. First number with colorless backgrounds (second number has plants and colorful backgrounds). Text by N. Vigors. John Gould learned taxidermy at Windsor Castle, where his father worked as a foreman of the garden team. In 1827, he became curator of the museum of the Zoological Society of London. The arrival in 1830 of a collection of exotic bird skins mainly from the Indian Himalayas enabled him to produce this first of his many superb folio bird books, later followed by the multiple volumes of Birds. of Europe (1832-1837) and Birds of Australia (1840-1848).

Publishing details: London, s.n., [1831-] 1832. Large folio (560 x 385 mm), [6-72] ff., 80 plates. Dark green half-sheepskin with corners, flats with gold fillets and cold-stamped friezes, titled and gold-decorated ribbed spine, gilded head, pink paper guards (period binding).
Very rare first edition, first issue of the first folio book on birds by the famous British ornithologist and naturalist
John Gould (1804-1881).
Goodsir Agnesview full entry
Reference: see Colville Auctions, Tasmania, June 7, 2021, lot 15, Agnes Goodsir (1864-1939) Australia France
(Standing Nude)
Oil on canvas
Signed dated lower right
Dimensions
89 x 59cm (stretcher) 103 x 73cm (fr)
Artist or Maker
Agnes Goodsir (1864-1939) Australia France
Medium
Oil on linen
Date
1902
Condition Report
Very Good
Notes
Agnes Goodsir (1846-1939) Born in Victoria in 1864, Agnes Goodsir studied with Arthur T. Woodward at the Bendigo School of Mines from 1898 to 1899 and later in Paris at the Academie de la Grande Chaumiere, the Academie Julian, Colarossi’s and Academie Delecluse. Principally a portrait and floral painter working in oils, she lived in Paris from 1900 until her death in 1939. She was elected an Associate of the New Salon in 1924, and a Member in 1926 and was awarded a Silver Medal at the New Salon in 1924, as well as exhibiting at the Royal Academy and the Royal Institute in London. On a short visit to Australia in 1927 she exhibited at the Macquarie Galleries in Sydney and the Fine Arts Gallery in Melbourne. In 1938 four of her oils were shown at the sesquicentennial exhibition at the Art Gallery of New South Wales. NGA collection includes a work The Parisienne c1924 which highlights her portraiture and her close association with Rachel Dunn, nicknamed Cherry. Her forte in portraiture included paintings of Banjo Paterson and Bertrand Russell. In 1998 a retrospective of her work was held at the Bendigo Art Gallery and The Goodsir Scholarship awarded by the Bendigo Art Gallery is named in her memory
Klitz Robertview full entry
Reference: See MCTEAR'S auction Glasgow, 19 May 2021, lot 35, ANTHONY ROBERT KLITZ (BRITISH 1917 - 2000), LIFFEY RIVER, DUBLIN oil on board, signed and inscribed with title verso 37cm x 91cm Framed. Note: Major Tony Klitz was best known for his paintings of London and from the early 1950's his paintings were regularly exhibited and sold by both Liberty's and Harrods. He exhibited widely in the UK and much of his work was sold to America, Europe and Australia. International exhibitions of his work were also held in New York, Paris, Sydney, Dublin and Cork. His Dublin scenes are rare but an example was sold at Morgan O'Driscoll (Dublin) on 12th November 2018 for a hammer price of 1600 Euros (St Patrick's Cathedral, Dublin, a 51 x 61cm oil on canvas, lot 129).
Leckie Alexanderview full entry
Reference: See MCTEAR'S auction Glasgow, 19 May 2021, lot 91: ALEXANDER (ALEX) LECKIE (SCOTTISH 1932 - 2010), DUNVEGAN CASTLE watercolour, signed and titled 24.5cm x 34.5cm Mounted, framed and under glass. Note: So far as we can determine, this is the first watercolour by Alex Leckie to be offered at auction. It is assumed that this work dates from around 1950. Note 2: Alex Leckie’s name was inextricably linked to The Glasgow School of Art. It was where he had begun studying in 1950 when, as the then Academic Registrar (Sir) Harry Barnes would later recollect, he was admitted ‘by the back door’, having shown a great deal of promise but possessing none of the normal qualifications to gain entry. It is unsurprising that the young Alex Leckie didn’t take to the disciplines of the post-war British education system, given his rather idiosyncratic upbringing. His father was an ardent communist and political activist who, nonetheless, instilled an appreciation of the arts into his son. The Leckie household library was extensive, containing several thousand books, and there were visits to art galleries and museums where he developed his appreciation of the work of ancient cultures, echoes of which would be found in his own ceramics in later years. Leckie excelled at art school and was offered the chance to complete a Post-Graduate Diploma. In 1955, and in imminent danger of being called up for National Service, Leckie decided to move to Australia. Having relatives in South Australia he settled in Adelaide where he soon found employment throwing garden pots at Bennetts Magill Pottery, a job which he would later describe as providing ‘good discipline’. Enquiries at the South Australian School of Art led him to discover that he was the most highly qualified potter in South Australia, a situation which, rather ironically given his background, led to him being employed in 1956 as a teacher of ‘pottery and sculpture’. The episode of Leckie swimming naked in the River Torrens and of his subsequent arrest (a seemingly trifling incident which provided front page titillation for the tabloid press and ultimately led to Leckie’s dismissal from his teaching post in 1962), introduced a surprisingly productive period during which he exhibited widely, undertaking many important commissions and becoming President of the Contemporary Art Society of South Australia. In 1964, he was one of three Australian ceramicists chosen to represent that country in the International Ceramics Exhibition in Tokyo, with his work, Destroyed City also appearing on the cover of Pottery in Australia. In 1966, Alex Leckie decided to return to Britain. He spent a short time in London at the Central School of Art before returning to Scotland, where he was appointed Head of Ceramics at the Glasgow School of Art in 1968, a position he held for the next twenty years. In an obituary published in The Scotsman, Jimmie Macgregor wrote that Alex Leckie ‘ … took a moribund ceramics department by the scruff of the neck, completely transforming it and turning out students who were a credit to the school.’ Alex Leckie died in Paisley in 2010 aged 77. Three of Alex Leckie's ceramic decanters were sold by McTear's in November 2018 achieving hammer prices of £480, £550 & £650.
Kent Reidview full entry
Reference: From NGA Prints & Printmaking
KENT, O. Reid
Male
Worked: Australia? Woodcuts 1930s
Printmaker
French salon exhibitorsview full entry
Reference: Australasian Artists at the French Salon, by Tom Thompson

From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented.

Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage.

This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.

Tom Thompson, the compiler of this book, is a publisher of Australian arts and letters, and broadcaster on ABC Radio.
Publishing details: 2019, pb, 140pp
Thompson Tom 1923-2019 obituaryview full entry
Reference: from National Art School website:
VALE THOMAS (TOM) THOMPSON [1923-2019]
On behalf of the National Art School, it is very sad to hear of the loss of alumnus and former staff member Thomas (Tom) Thompson (1923-2019), who died in Sydney at the age of 95 on 13 July 2019.
Born on the 16 November 1923 in Narrabri, NSW, Tom studied at the National Art School on a Commonwealth Reconstruction Training Scholarship (CRTS) from 1947 to 1950 after serving in World War Two as a tank gunner in Bougainville. His fellow students included Tony Tuckson, Guy Warren, Bert Flugelman, John Coburn and Robert Klippel. A talented student, he graduated with a Painting Diploma and was awarded the College Medal.
After finishing his studies, he went to England where he worked as a night watchman for the National Gallery in London. After a period overseas, he taught at the South Australian School of Art from 1952 to 1955.
Tom returned to the National Art School as a teacher in 1955, teaching painting and drawing for over 20 years. A great chronicler of events, he helped preserve the NAS Collection, and did many drawings of the site, its history and its occupants. Fifty-seven of his drawings of fellow artists are held in the State Library of NSW, and many of these are of teachers at the NAS. From 1975 to 1976 he was Head of the School of Art and Design before resigning to paint full time in his studio in Braidwood, NSW.
Influenced by Italian renaissance painting, Tom painted a number of large murals during his career. His commissioned works included murals for the International Air Terminal at Mascot, Sydney, three panels in tempera for Australia House, London, and a major mural for Parramatta City Council depicting the early days of the city.
His work was included in the Tate Gallery Exhibition of Australian Art, 1963, and he exhibited widely throughout Australia as well as undertaking a number of study tours of Europe. Thompson’s work was exhibited in The Studio Tradition, Manly Art Gallery, 2001, and Lines of Fire in the NAS Gallery in 2008, and ten of his student works are represented in the NAS Collection. His work is held in the National Gallery of Australia, State galleries in Victoria, South Australia, Western Australia, and Wellington, New Zealand.
The National Art School extends condolences to Tom’s family and friends. He will be greatly missed by his former colleagues and many students.
Steven Alderton
Director and CEO, National Art School

Wilmot Cview full entry
Reference: see see Sworders auction, UK, 18.5.21, lot 170: Company School, 19th century
Parakeet:
Parrot;
and one further exotic bird study
watercolour and bodycolour, watermark 'C. WILMOT 1825'
20.5 x 16cm and similar (3)

Longstaff Will view full entry
Reference: see MCTEAR'S Glasgow, lot 89, 19 May 2021: CAPTAIN WILLIAM FREDERICK LONGSTAFF (AUSTRALIAN 1879 - 1953), HYDE PARK CORNER, EVENING watercolour on paper, signed, titled in the mount 17cm x 17cm Mounted, framed and under glass. Note: One of the very rare series of London night-time scenes by an artist who achieved international acclaim for his 1927 painting "Menin Gate at Midnight" also known as "Ghosts of the Menin Gate". Will Longstaff truly excelled at night-time scenes with monumental architecture and people portrayed in moonlight and yet he painted only four or possibly five known war memorial compositions and a small series of London night-time scene watercolours, preferring to focus on landscapes, portraits and still lifes. Menin Gate at Midnight was painted to commemorate those soldiers with no marked graves on the Western Front during the First World War. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night and on returning to his studio in London he painted 'Menin Gate at Midnight' in a single session. He painted a story of the missing soldiers coming back to rest at last in the memorial at Ypres, not to haunt the living anymore. At last there was a proper place of mourning and a proper resolution of the soldiers’ story. The widows, parents and the children could now become fully what they were, and accept the dead men’s memories into their own. The painting caused a sensation. People crowded in to see it in London, Manchester and Glasgow. It was shown at Buckingham Palace by royal command. Lord Woolavington, formerly Sir James Buchanan, a wealthy whisky distiller and philanthropist whose wife had nursed wounded soldiers in London hospitals, bought the picture for the remarkable sum of £2,000, perhaps £300,000 in today’s money and double the price of comparable works by the best known artists of the day. Woolavington gave the painting to Australia. The painting toured in every Australian State. Every exhibition drew record crowds, and seasons were often extended. In Perth, a city of some 163,000 people, the public art gallery recorded more than 100,000 visits. Today 'Menin Gate at Midnight' has achieved the status of a national icon. One of Will Longstaff's best known collectors was Sir Arthur Conan Doyle and he bought one of the other three war memorial paintings which Longstaff created. Conan Doyle and Longstaff "had rooms" in the same building on the Buckingham Palace Road and both had a well documented interest in Spiritualism. These four paintings were brought together for the first time as the Australian War Memorial's Exhibition "Will Longstaff: Art & Remembrance" (20 November 2001 to 10 February 2002). Will Longstaff died on 1 July 1953 at Littlehampton, Sussex.



Rae Janview full entry
Reference: TRAVEL SKETCHES: THE ILLUSTRATED OBSERVATIONS OF A TANGO DANCER IN BUENOS AIRES, by Jan Rae.
Publishing details: Byron Bay: Jan Rae, 2019.
First Edition. 86 pages, colour illustrations. Illustrated wrappers
Ref: 1000
Wright Peterview full entry
Reference: GARCON, by Greg Fenton; Peter Wright
[’A collection of male nudes. Photographs by Greg Fenton. Drawings by Peter Wright. Scarce Australian gay erotica.’]
Publishing details: Sydney: Christopher Wilde Productions, No date.
First Edition.
27.5cm x 21.5cm. [56] pages, black and white illustrations. Pictorial saddle- stapled wrappers.
Ref: 1000
Fenton Greg photographerview full entry
Reference: see GARCON, by Greg Fenton; Peter Wright
[’A collection of male nudes. Photographs by Greg Fenton. Drawings by Peter Wright. Scarce Australian gay erotica.’]
Publishing details: Sydney: Christopher Wilde Productions, No date.
First Edition.
27.5cm x 21.5cm. [56] pages, black and white illustrations. Pictorial saddle- stapled wrappers.
Abbott Johnview full entry
Reference: see Scheding Berry Fine Art records for:
Sheet music:
[THE] SONG OF THE FAIR EMIGRANT / written by John Abbott Esq.;~/
composed by F.H. Henslowe Esq.;~/Hobart Town./ Published by R. V. Hood, lithographer, Liverpool St. [HOBART TOWN]/1854.
8 pages
letterpress on cover as described above, with additional title ‘Hobarton, Tasmania’ printed directly below image.
stapled (twice) at left. (Staples not original. The original binding was possibly string, similar to the binding of the State Library of Tasmania copy)
29.6 x 26.2 cm
image size of cover lithograph: 17.7 x 23.7 cm

The cover shows a lithographed view of Hobart Town from Knocklofty

Page 1 is headed: ‘The Song of the Fair Emigrant/Written by John Abbott Esq. … Composed by F. H. Henslowe Esq. The song is printed on the following pages.

Condition: The cover with image is foxed. There is a 1.5 cm tear at centre-right edge of cover. There is a stain lower left-hand corner approximately 2 cms. Small tears and small holes at left-hand edge with some old repairs.

Provenance: Tulloch’s Auction, Launceston, Tasmania, 15 July, 2015, lot 259.

Another copy is in the State Library of Tasmania. According to Tulloch’s Auctions they sold another copy ‘some time ago’. We have been unable to locate any other copies.

It is possible that the creator of the image was John Abbott (see below).

References:
DAAO (biographies of John Abbott and Robin Vaughan Hood, see below)
Craig, Clifford, The Engravers of Van Diemen, Launceston: Tasmanian Historical Research Association, 1961, p.106. Craig lists this lithograph and three other prints on music sheets. Scan attached below.

*

Biography of John Abbott from Design and Art Australia Online:
Patricia R. McDonald,
Date written: 1992
Last updated: 2011

John Abbott, b. 1803 NSW, Artist (Painter)

This sketcher, watercolourist and songwriter became the registrar-general of births, deaths and marriages in Van Diemen's Land in the mid nineteenth century. His watercolours were exhibited in the 1866 Melbourne and 1870 Sydney Intercolonial Exhibitions.

This sketcher, watercolourist and songwriter became the registrar-general of births, deaths and marriages in Van Diemen's Land in the mid nineteenth century. His watercolours were exhibited in the 1866 Melbourne and 1870 Sydney Intercolonial Exhibitions. - Sketcher, songwriter, surveyor, soldier and public servant, was born in New South Wales, son of Major Edward Abbott and his wife Louisa, daughter of Admiral Smith. Between 1789 and 1810 his father served with the NSW Corps and in 1815 was appointed the first Deputy Judge-Advocate of Van Diemen’s Land. By 1824 John was clerk to the Hobart Town bench of magistrates. Four years later, after applying for a position with the VDL Survey Department, John Abbott moved to Sydney and joined the NSW Surveyor-General’s Department under Thomas Mitchell. By 1832 he was assistant surveyor in charge of the approaches to the new Lennox Bridge at Lapstone in the lower Blue Mountains.

Abbott later returned to Van Diemen’s Land where he was registrar-general of births, deaths and marriages in 1840-57. In 1842 he acquired 640 acres at Gordon on the D’Entrecasteaux Channel and built a house that he named Rookwood. Abbott never married. He devoted considerable time to gardening and to his various cultural interests, including painting watercolour sketches and writing the words for the 'Song of the Fair Emigrant’, published as sheet music by the Hobart Town lithographer R.V. Hood in 1854.

Towards the end of his life Abbott sent three entries to the 1866 Melbourne Intercolonial Exhibition: a watercolour view of the locale of the coal on his property; a Book of Tasmanian Scraps, from an Australian Native; and Busts of Tasmanian Natives . He certainly executed the first two, but was probably only the exhibitor of the third (possibly busts of Truganini and Woureddy by the Tasmanian sculptor Benjamin Law ). His Book of Tasmanian Scraps was awarded a medal and was subsequently shown at the 1870 Sydney Intercolonial Exhibition where he also showed a watercolour of D’Entrecasteaux Channel (possibly the same 1866 view) and another of his drawings, Dogs, was exhibited by C. Barrer.

Abbott died in Hobart Town on 10 July 1875, aged 71. His only painting held in a public collection is a monochrome watercolour dated 1828, The Boat Harbour of Woollooderra [now Ulladulla, New South Wales], as seen from the S.W., which was transferred from the Lands Department to the Mitchell Library in 1921. Other sketches survive with descendants.

Hood Robin Vaughanview full entry
Reference: see Biography of Robin Vaughan Hood from Design and Art Australia Online
Staff Writer, 1992; Last updated: 2011:

Lithographer, printer, frame-maker and fine arts dealer, arrived at Hobart Town in the Warrior on 27 June 1833. No original artwork by Hood is known, but he was an integral part of Hobart's cultural life. He was accompanied by his wife Sarah née Lloyd, his 14-year-old stepson Richard Lloyd, and his 5-year-old son Robin Lloyd. On his arrival he gave his occupation as carpenter, but he soon abandoned general carpentry for the specialist trades of carver, gilder and frame-maker. His first known address was 1 Murray Street ('near St David’s Church’) in 1836. He moved to 108 Elizabeth Street in March 1838, then to a 'weatherboarded house’ in New Town Road which was destroyed by fire in November 1840. The following year he built a shop and residence at 34 Liverpool Street which he called Somerset House.

Following the success of the art exhibition organised by John Skinner Prout and others at the Legislative Council Chambers on 6 January 1845, Hood built a gallery adjacent to his Liverpool Street premises. In February 1846 he advertised that the gallery was ready, and the committee held its second exhibition there on 24 May. Hood’s gallery became the focus for the exhibition and sale of fine arts in Hobart exhibiting, among others, the works of painters such as John Glover and Thomas Wainewright and, later, Haughton Forrest . When Prout left for London in April 1848 Hood bought his lithographic equipment and began a new career as lithographer and printer. Clifford Craig has noted that all known Hood prints were published after the purchase of Prout’s press. The earliest are probably a series of whaling prints drawn on the stone by William Duke and published by Hood in September 1848.

Hood showed picture frames at London’s Great Exhibition in 1851 and in Paris in 1855. Yet he apparently intended his career to be short for in February 1851 he retired in favour of his son, Robin Lloyd Hood (1828-1916), who became a well-known printer and frame-maker in his own right. Despite this public withdrawal, however, Hood seems to have continued lithographic printing from his residence at Fitzroy Place, publishing lithographs by Frank Dunnet in November 1858 and Henry D’Emden in 1861, as well as exhibiting picture frames. He seems to have retained the ownership of the Somerset House premises as well. In February 1862 he advertised that the property, including the exhibition room, was for sale. The previous August he had turned the 'large and commodious premises’ at 56 Liverpool Street into the 'City Restaurant’, which offered both food and accommodation. The printing business, then trading as R.L. Hood & Brother, was next door.

Robin Vaughan Hood died at Hobart in 1888, his wife having predeceased him in 1857. No original artwork by Hood is known and drawing onto the stone was apparently always the work of others. Nevertheless, there are sufficient Hood lithographs, otherwise unacknowledged, to suggest that he may sometimes have performed this task himself. In any event, as lithographic printer and fine arts entrepreneur, he was an integral part of Hobart’s cultural life.

*



Tilden Blancheview full entry
Reference: Blanche Tilden—ripple effect: a 25 year survey, Saturday 8 May to Sunday 1 August 2021. [’This 25 year survey of the work of Melbourne-based jeweller and maker Blanche Tilden reveals her remarkable and critically acclaimed practice. Tilden has a unique approach to her materials, in particular, glass, which she explores both as a material for jewellery making and deploys as a metaphor for the connections between making, industry, the wearable object and the body. Her fascination with mechanical devices, fuelled by a desire to understand how things work, continually inspires her work.
This first comprehensive survey of Tilden’s career includes historical and contemporary works loaned from numerous public and private collections. Tilden has reinterpreted previous work to create new forms that expand on her preoccupations with value, mechanical movement, and industrial and architectural uses of glass, translating something of the macro immensity of the built and material world to the intimacy of the jewellery object.
This exhibition celebrates the City of Greater Geelong’s designation as a UNESCO City of Design and Blanche Tilden’s remarkable 25 year career at the nexus of art and design.’]
Publishing details: Geelong Art Gallery, 2021.
Ref: 1000
Hinder Frankview full entry
Reference: see Annette larkin Fine Art, May, 2021:
Frank Hinder, Murder in the Cathedral, 1960, casein tempera on paper, 86 x 66 cm
Aside from his practice as a painter, from 1935 Hinder began working as a theatre designer for productions across Australia and in the United Kingdom. Especially in the late-1950s and early 1960s, Hinder became a highly skilled creator of maquettes, drawings and designs for sets, costumes and lighting, many of which informed the broader theatricality of his art practice. He was involved in major touring productions of post-war theatre, including the seminal play about Italian-Australian race relations, The Shifting Heart, as well as major performances of Beethoven’s Fidelio, Wagner’s Lohengrin, and Shakespeare’s Julius Caesar and Troilus and Cressida.
 
Aside from theatre maquettes, Hinder began creating what he called ‘luminal kinetics’, highly intricate, playful, mechanical sculptures that played with light and colour. More broadly, Hinder developed an affinity with industry and architecture, resulting in semi-abstract constructions in the 1950s and 1960s that stepped beyond Cubism, as if each of his paintings or drawings was divided into strips of colour and light to be reconfigured by the artist’s eye. The Harbour Bridge, railway stations and trams are all key subjects in Hinder’s work, both for their geometric structure and the way in which light passes through these spaces in beams.
 
Murder in the Cathedral is a work on paper from 1960 that combines Hinder’s interests in movement, light and theatricality. Its title and subject is a play of the same name by T.S. Eliot, first performed in 1935, about the assassination in 1170 of Archbishop Thomas Becket in Canterbury Cathedral. In Eliot’s play, Becket foresees his own martyrdom, overcoming the temptations of physical safety or glory. He is eventually killed by four of King Henry II’s knights, who misinterpret the King’s frustration with Becket as an order to murder him. Hinder worked on the 1960 production of Murder in the Cathedral, performed at Bonython Hall, The University of Adelaide, South Australia, from 16 March to 26 March. The production was jointly presented by the Australian Elizabethan Theatre Trust and the 1960 Adelaide Festival of Arts, with Hinder as the sole designer.
 
In this work on paper, Becket stands in the centre of the composition, bathed in shards of light, and dressed in the distinctive red robes of the clergy. Approaching Becket are several shadowy figures, presumably the knights who believe they are under orders to kill him. The sharp, geometric forms in the work strongly resemble the shapes cast by spotlights on a stage, some of which can be seen directly in the upper left corner of the work.
 
O’Callaghan Mel illustratorview full entry
Reference: see Good Weekend, Sydney Morning Herald article, 22-3 may, 2021, p5. and wife Clemens Habicht.
Habicht Clemens view full entry
Reference: see Good Weekend, Sydney Morning Herald article, 22-3 may, 2021, p5 and wife Clemens Habicht
Irvine John b1805view full entry
Reference: see THE ROYAL SCOTTISH ACADEMY,
1826-1916, GLASGOW, exhibits:
1858 194 Mrs. M. Nicholson, Penrith.
325 Mrs. Winter, Kirkby-Stephen.
388 M. Nicholson, Esq., Penrith.
399 Portrait of a Lady.

466 Countess Ossalinsky, Penrith.
529 Jane Nicholson, Penrith.
587 Gideon Scott, Esq., Scalloway, Zet-
land.
Melbourne, New South Wales.

1859 322 Portrait of a Gentleman.

Australia, and 71 Cumberland Street, Edin-
burgh.



Publishing details: PRINTED AT THE UNIVERSITY PRESS BY ROBERT MACLEHOSE &• COMPANY LTD. FOR

JAMES MACLEHOSE AND SONS, PUBLISHERS

TO THE UNIVERSITY OF GLASGOW

MACMILLAN AND CO. LTD. LONDON

THE MACMILLAN CO. NEW YORK

MACMILLAN CO. OF CANADA TORONTO

SIMPKIN, HAMILTON AND CO. LONDON

BOWES AND BOWES CAMBRIDGE

DOUGLAS AND FOULIS EDINBURGH, MCMXVII.

Scully Seanview full entry
Reference: see artnet.com artcicle:
Sean Scully Opened His Studio to the Public to Showcase the Gripping Paintings He Made During Lockdown—See Them Here
His exhibition “The 12 / Dark Windows” is currently on view in two locations—his Chelsea studio and Lisson Gallery.
Katie White, May 21, 2021.
After more than a year working in isolation, Sean Scully decided to go in the opposite direction. He swung open the doors of his studio to invite art lovers in. The Irish-American artist’s latest exhibition, “The 12 / Dark Windows,” takes place in two parts—at Lisson Gallery’s space on 24th Street and Scully’s own Chelsea workspace. (Visits can be scheduled here). 
Inside the studio, one encounters The 12 (2020), a 12-panel grouping of new paintings in his ongoing “Landline” series. They range from joyous to somber in their tones and seem to echo the range of emotions felt over the past year, from tragedy to jubilation and relief.

Though these works still engage the alternating bands of color that have defined “Landline” series since Scully began it over 20 years ago, they are rooted in the experiences of the global pandemic, quarantine, Black Lives Matter protests, and mass uncertainty that Scully experienced firsthand in New York. In the studio, the works occupy their own room and act almost like sentries at a fortified structure or pillars in a temple, conferring a sense of gravity in opposition to the unpredictability of the outside world. 
“The world in which we live, the existential threat from COVID, and the environmental problems we face have influenced me greatly in my art,” the artist said in a statement.
In the gallery, the exhibition continues with Dark Windows (2020), a suite of five works created at the height of the pandemic. Here, Scully introduces a new element, the seemingly sinister black square—an allusion to Malevich’s 1915 Black Box. The shape—which evokes censors, stunned silence, and even “Blackout Tuesday” Instagram posts—represents a departure for Scully, whose work normally calls to mind open landscapes and horizon lines.
“There is no doubt that they are a response to the pandemic and to what mankind has been doing to nature,” Scully said. “What really strikes me as tragic is that what is a relief for nature is a torment for us. And what is a pleasure for us is a torment for nature. That seems to be the conundrum that we’ve got ourselves into.”
Gren Nilsview full entry
Reference: see Swann Auction Galleries
September 17, 2020

Lot 109
NILS GREN 
Solemn Hill, California. 

Oil on canvas, circa 1930. 693x840 mm; 27 3/4x33 inches. Signed in oil, lower left recto. 

Ex-collection private collection of Betty and Douglas Duffy (owners of Bethesda Art Gallery); thence by descent to current owner, private collection, Houston. 

Born in Sweden, as Nils Ahgren, Gren (1893-1940) sailed for Australia in his teens, and intended only to visit, but remained for several years and there received his early artistic training. Though a temporary resident of Sydney, his early work in Australia formed part of the vital movement of emerging modernist practices during the period between the wars, and he was an important member of the city's contemporary cultural milieu. By 1919, Gren had immigrated to New York and found work as a designer for a pattern manufacturer. In 1925, he moved to Southern California where he studied art with the prominent synchromist painter Stanton MacDonald Wright (1890-1973), whose work had been of significant importance to the late 1910s colour-music experiments of the Australian artists Roland Wakelin (1887-1971) and Roy de Maistre (1894-1968), with whom Gren had trained in Sydney, and which no doubt had led him to seek out Wright in Los Angeles. 

Gren moved to San Francisco in the late 1920s. Unfulfilled with his style to that point, around 1930 he destroyed much of his earlier work. His extant oil paintings and lithographs from the 1930s are mostly still lifes, landscapes and scenes of San Francisco.

West Absalomview full entry
Reference: see Mason Gray, Fine Australian Paintings, Sydney, 11/09/1989, Lot No. 188:
Views of Sydney
Engravings, Est: $60,000-80,000, Mason Gray, Fine Australian Paintings, Sydney, 11/09/1989, Lot No. 188
Twelve lightly hand coloured original engravings being offered as one lot. Mitchell library sydney, ref. Shelf F981 W Historically an important plate book published in the colony, Absalom West's Views of the Colony were issued in two sets, the first set of twelve bear the date 30th November, 1812, although officially available from the 1st January, 1813, while the second set of twelve was published in 1814. Created by convicts and emancipists the Views were produced in quantity but are rare today. 'Despite the considerable number of copies that must have been published, even single plates from West's views are rare. Complete sets are of quite exceptional rarity. In all only four full sets are recorded and, as far as we can discover, no other has been sold publicly since the fine set from the Edge-Partington Collection was sold in 1934 for one hundred & twenty pounds. This collection of twelve engravings include Nos. 1, 2, 3, 4, 5, 6, 7, 9 and 11 from the first set and No.s 13, 15 and 16 from the second.

Provenance: The twelve engravings have been in the one family for over 90 years. Views from the first numbered set of twelve plates dated November, 30th, 1812. Officially published and available from January 1 st, 1813 . 1. Botany Bay Harbour, in New South Wales, with a View of the Heads, taken from Cook's Point, drawn by John Eyre, engraved by William Prefston. 2. Port Jackson in New South Wales, with a View of The Blue Mountains, taken from South Head, drawn by John Eyre, engraved by William Prefston. 3. View of Part of Sydney, the Capital of New South Wales, taken from Bennelong Point, drawn by Johyn Eyre, engraved by William Prefston. 4. View of Part of Sydney, the Capital of New South Wales, taken from Bennelong Point, drawn by John Eyre, engraved by William Prefston. 5. View of Hunter's River, near Newcastle in New South Wales, taken from Prospect Hill, drawn by J.R. Brown, engraved by William Prefston. 6. Newcastle in New South Wales with a distant view of Point Stephen taken from Prospect Hill, drawn by J.R. Brown, engraved by William Prefston. 7. North Harbour in New South Wales with a view of Port Jackson's Head, taken from Belmont, drawn by John Eyre, engraved by William Prefston. 9. View of Part of Sydney, the Capital of New South Wales, taken from Dawes Point, drawl) by John Eyre, engraved by William Prefston. 11 . View of Part of the Town of Parramatta in New South Wales, taken from the north side of the river, drawn by John Eyre, engraved by William Prefston. Views from the second set (Un-numbered) 13. View of the Seat of Woolloomooloo, near Sydney, New South Wales, drawn by John Eyre, engraved by William Prefston. Plate dated January 1 st, 1813. 15. View of part of the town of Parramatta in New South Wales, taken from the south side of the river, drawn by John Eyre, engraved by William Prefston. Plate dated January 1 st, 1813. 16. View of Shark Bay in New South Wales, taken from Vinegar Hill, drawn by John Eyre, engraved by William Preston. Plate dated November 30th, 1812. * 'Australian Rare Books 1788 - 1900' Jonathon Wantrup Hordern House 1989
Preston Williamview full entry
Reference: see Mason Gray, Fine Australian Paintings, Sydney, 11/09/1989, Lot No. 188:
Views of Sydney
Engravings, Est: $60,000-80,000, Mason Gray, Fine Australian Paintings, Sydney, 11/09/1989, Lot No. 188
Twelve lightly hand coloured original engravings being offered as one lot. Mitchell library sydney, ref. Shelf F981 W Historically an important plate book published in the colony, Absalom West's Views of the Colony were issued in two sets, the first set of twelve bear the date 30th November, 1812, although officially available from the 1st January, 1813, while the second set of twelve was published in 1814. Created by convicts and emancipists the Views were produced in quantity but are rare today. 'Despite the considerable number of copies that must have been published, even single plates from West's views are rare. Complete sets are of quite exceptional rarity. In all only four full sets are recorded and, as far as we can discover, no other has been sold publicly since the fine set from the Edge-Partington Collection was sold in 1934 for one hundred & twenty pounds. This collection of twelve engravings include Nos. 1, 2, 3, 4, 5, 6, 7, 9 and 11 from the first set and No.s 13, 15 and 16 from the second.

Provenance: The twelve engravings have been in the one family for over 90 years. Views from the first numbered set of twelve plates dated November, 30th, 1812. Officially published and available from January 1 st, 1813 . 1. Botany Bay Harbour, in New South Wales, with a View of the Heads, taken from Cook's Point, drawn by John Eyre, engraved by William Prefston. 2. Port Jackson in New South Wales, with a View of The Blue Mountains, taken from South Head, drawn by John Eyre, engraved by William Prefston. 3. View of Part of Sydney, the Capital of New South Wales, taken from Bennelong Point, drawn by Johyn Eyre, engraved by William Prefston. 4. View of Part of Sydney, the Capital of New South Wales, taken from Bennelong Point, drawn by John Eyre, engraved by William Prefston. 5. View of Hunter's River, near Newcastle in New South Wales, taken from Prospect Hill, drawn by J.R. Brown, engraved by William Prefston. 6. Newcastle in New South Wales with a distant view of Point Stephen taken from Prospect Hill, drawn by J.R. Brown, engraved by William Prefston. 7. North Harbour in New South Wales with a view of Port Jackson's Head, taken from Belmont, drawn by John Eyre, engraved by William Prefston. 9. View of Part of Sydney, the Capital of New South Wales, taken from Dawes Point, drawl) by John Eyre, engraved by William Prefston. 11 . View of Part of the Town of Parramatta in New South Wales, taken from the north side of the river, drawn by John Eyre, engraved by William Prefston. Views from the second set (Un-numbered) 13. View of the Seat of Woolloomooloo, near Sydney, New South Wales, drawn by John Eyre, engraved by William Prefston. Plate dated January 1 st, 1813. 15. View of part of the town of Parramatta in New South Wales, taken from the south side of the river, drawn by John Eyre, engraved by William Prefston. Plate dated January 1 st, 1813. 16. View of Shark Bay in New South Wales, taken from Vinegar Hill, drawn by John Eyre, engraved by William Preston. Plate dated November 30th, 1812. * 'Australian Rare Books 1788 - 1900' Jonathon Wantrup Hordern House 1989
Views of Sydneyview full entry
Reference: see Mason Gray, Fine Australian Paintings, Sydney, 11/09/1989, Lot No. 188:
Views of Sydney
Engravings, Est: $60,000-80,000, Mason Gray, Fine Australian Paintings, Sydney, 11/09/1989, Lot No. 188
Twelve lightly hand coloured original engravings being offered as one lot. Mitchell library sydney, ref. Shelf F981 W Historically an important plate book published in the colony, Absalom West's Views of the Colony were issued in two sets, the first set of twelve bear the date 30th November, 1812, although officially available from the 1st January, 1813, while the second set of twelve was published in 1814. Created by convicts and emancipists the Views were produced in quantity but are rare today. 'Despite the considerable number of copies that must have been published, even single plates from West's views are rare. Complete sets are of quite exceptional rarity. In all only four full sets are recorded and, as far as we can discover, no other has been sold publicly since the fine set from the Edge-Partington Collection was sold in 1934 for one hundred & twenty pounds. This collection of twelve engravings include Nos. 1, 2, 3, 4, 5, 6, 7, 9 and 11 from the first set and No.s 13, 15 and 16 from the second.

Provenance: The twelve engravings have been in the one family for over 90 years. Views from the first numbered set of twelve plates dated November, 30th, 1812. Officially published and available from January 1 st, 1813 . 1. Botany Bay Harbour, in New South Wales, with a View of the Heads, taken from Cook's Point, drawn by John Eyre, engraved by William Prefston. 2. Port Jackson in New South Wales, with a View of The Blue Mountains, taken from South Head, drawn by John Eyre, engraved by William Prefston. 3. View of Part of Sydney, the Capital of New South Wales, taken from Bennelong Point, drawn by Johyn Eyre, engraved by William Prefston. 4. View of Part of Sydney, the Capital of New South Wales, taken from Bennelong Point, drawn by John Eyre, engraved by William Prefston. 5. View of Hunter's River, near Newcastle in New South Wales, taken from Prospect Hill, drawn by J.R. Brown, engraved by William Prefston. 6. Newcastle in New South Wales with a distant view of Point Stephen taken from Prospect Hill, drawn by J.R. Brown, engraved by William Prefston. 7. North Harbour in New South Wales with a view of Port Jackson's Head, taken from Belmont, drawn by John Eyre, engraved by William Prefston. 9. View of Part of Sydney, the Capital of New South Wales, taken from Dawes Point, drawl) by John Eyre, engraved by William Prefston. 11 . View of Part of the Town of Parramatta in New South Wales, taken from the north side of the river, drawn by John Eyre, engraved by William Prefston. Views from the second set (Un-numbered) 13. View of the Seat of Woolloomooloo, near Sydney, New South Wales, drawn by John Eyre, engraved by William Prefston. Plate dated January 1 st, 1813. 15. View of part of the town of Parramatta in New South Wales, taken from the south side of the river, drawn by John Eyre, engraved by William Prefston. Plate dated January 1 st, 1813. 16. View of Shark Bay in New South Wales, taken from Vinegar Hill, drawn by John Eyre, engraved by William Preston. Plate dated November 30th, 1812. * 'Australian Rare Books 1788 - 1900' Jonathon Wantrup Hordern House 1989
Orban Desideriusview full entry
Reference: see WANNENES ART AUCTIONS, Genova, Italy, 22 Sept 2020, lot, 443:
Hungary, 1884; 1986
Table with cup and flowers
Signed Orban lower right
Oil on canvas, 72X59 cm

Born in Hungary, Orban later moved to Australia in 1919 where he founded the Orban School, where the role of creative imagination in works of art was paramount.His paintings are richly colored, the color palette encompasses a very vibrant range with a feeling turned to his country of origin. He did not like formalism; for him art was inventiveness and creative expression. In the 1960s Orban's work began to reflect the influences of Eastern philosophies. He received the gold medal in a 1929 international exhibition in Barcelona. In 1931 he founded the Academy of Arts and Crafts in Budapest, training students in the decorative and industrial arts. His works are kept in several galleries in Budapest and around the world.
Curtis J Wview full entry
Reference: see Clark's Auction Company, Scotts Valley, CA, USA, Oct 5, 2020, lot 126: Spectacular 19th Century Australian school landscape by James Waltham Curtis, AKA JW Curtis, depicting men driving horses from a flaming forest. Curtis was a revered master of Australian landscape painting, considered to be among the greatest Australian artists. Signed, and labeled verso with cataloging from the Leland Stanford collection, founder of Stanford University. Leland held a collection of 60 JW Curtis paintings, painted specifically for Stanford, which were sourced by his brother Thomas Welton Stanford in Australia. These were donated to the university and held in the university collection for many years. This painting is Number 52 of 60, representing one of the later works by Curtis, which are the most revered and considered to be his best works. Provenance: Thomas Welton Stanford, Leland Stanford, Stanford University, San Francisco Private Collector. Marked No. 52, Signed by Artist. Approximately 35.5 in x 28 in x 3 in., site 25.5 in x 17.675 in. The painting is presented in unrestored condition for conservation of the buyer's choosing.

Lambert George of Thea Proctor?view full entry
Reference: see Dominic Winter Auctions
October 9, 2020, 10:00 AM BST
South Cerney, United Kingdom, lot 613: * Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902, pencil on paper laid on card, head and shoulders portrait half-profile to left, of an Edwardian lady gazing into the distance, wearing a high-necked blouse and with her hair swept up, signed and dated lower right and with placename of London, toned and some light spotting, a little worn at edges, sheet size 23.7 x 18.9cm (9.5 x 7.5ins)

Qty: (1)
Notes
Provenance: Believed to have been given to the owner's grandmother's family by the artist, and thence by descent. The owner's grandmother worked at the Royal Academy of Music and subsequently the Admiralty; her father, Sven Didericksen, was head chef at The Rembrandt Hotel in Knightsbridge, London, and her uncle was the proprietor of an antiquarian book and print shop in London. The family moved in artistic circles, and Australian painter George Lambert, who lived for a time in London, is known to have been a friend. It has been suggested that the subject is the artist Thea Proctor (1879-1966), an Australian painter, known as a prominent arbiter of taste, who was also a printmaker, designer and teacher. Although Proctor didn't travel to London until 1903, she and Lambert met at art school in Sydney, and this portrait does appear to bear a strong resemblance to her. Beautiful and elegant, she was tutored privately by Lambert, sat regularly for him and was a frequent visitor to his London home. On her part she found Lambert intellectually stimulating and was apparently devoted to him. Their exact relationship is unknown but he became her mentor and their friendship was lifelong.
Gould John and Elizabethview full entry
Reference: see lot 2 Alde, Paris, France, Thursday 12 November, 2020:
Autograph letter by John Franklin, signed to the Secretary of the Royal Geographical Society of London, Naval Officer and Hydrographer John Washington. "Government House" [in Hobart], Land of Van Diemen [now Tasmania], February 15, 1839. 3 pp. in-8.
Translation: "I have only a few minutes to thank you for introducing us to Mr. & Mrs. Gould, myself and Lady Franklin." We found them to be a very interesting company. Mr. Gould embarked this morning for Sidney, leaving Mrs. Gould as a hostage to ensure her speedy return. They have both been indefatigable since their arrival, and I am not far from thinking that Mr. Gould left little for the bird watchers who might come after him [John Gould came to Australia with his wife Elizabeth Coxen in 1838 -1839, studied the birds, taking many sketches, and published from 1840 to 1869 a monumental work illustrated with lithographs, some by his wife, The Birds of Australia.] Now please allow me to introduce Mr. Montagu, Colonial Secretary of Land Van Diemen who is returning to England on special permission. [Naval officer John Montagu was John Franklin's deputy, but would fall out with him in 1841: Franklin would dismiss Montagu and then be dismissed himself.] He is a man of considerable talent and one with a in-depth knowledge of everything relating to the civil, military & penal affairs of the colony, and therefore proves to be the most competent to give you any information you may require in this regard. I know he is interested in the productions of the Geographical Society, so I will be very happy if you would be kind enough to invite him to attend some of your meetings. I have nothing painful to say about Maconochia and will therefore remain silent [naval officer and geographer Alexander Maconochie was John Franklin's private secretary in Hobart, but was fired by him for criticizing the harshness of the island's prison system] ... "
One of the great British sailors and explorers, John Franklin (1786-1847) joined the navy at the age of fourteen. He was part of Matthew Flinders' expedition along the Australian coasts (1801-1804), participated in the Battle of Trafalgar under the orders of Admiral Nelson (1805), then led various explorations in the Arctic seas, in particular for look for the Northwest Passage (1819-1827). He was then appointed Governor of the Land of Van Diemen (1836-1843) but was recalled following a dispute with his second, Montagu.
Despite his age, he then asked to lead a new arctic expedition in search of the Northwest Passage - he died during his attempt.
Glover John drawingview full entry
Reference: see Christies London, 15 October - 5 November, online auction, Topographical Pictures including China Trade Paintings:

lot 116: John Glover (1767-1849)
Mills' Plains, Tasmania
inscribed 'Mills's Plains the whole mine my House below in the plain' on the reverse
pen, ink and wash on paper
unframed
27⁄8 x 41⁄8in. (7.2 x 10.3cm.)
... the expectation of finding a new Beautiful World - new landscapes, new trees new flowers new Animals Birds is delightful to me - I mean to take possession of 2,000 Acres of Land - to have a vineyard upon it ...
John Glover to Sir Thomas Phillipps, January 1830

A rediscovered vagrant from one of Glover's Tasmanian sketchbooks, the view is taken from the same spot as Glover's 'Mills Plains, Ben Lomond and Ben Nevis in the distance' (1836) in the Tasmanian Museum and Art Gallery, Hobart. The inscription on the reverse, proudly trumpeting his acquisition, suggests this little sketch may have been an announcement sent to a friend. It was the government grants of free land that prompted Glover to follow his sons to Van Diemen's Land, and he took up his grant ninety miles north of Hobart within a year of his arrival in the colony in February 1831, the Glover household following him out to Mills' Plains on 23 March 1832:

'The first few years at "Patterdale" were certainly busy ones, as John Richardson Glover's letters and John senior's sketchbooks testify. The Glovers constructed a two-storey house with an adjacent "Exhibition Room, 30 by 15 feet", as well as a separate dwelling for Henry and his family. A garden was established, paddocks fenced, crops sewn and reaped, the sheep washed and shorn. The indentured servant Eley absconded and there were visits from refractory convicts to deal with. From beyond the world of Mills' Plains there were visits from Massingberd, Quaker missionaries, James Backhouse and George Washignton Walker, surveyor John Helder Wedge and George Augustus Robinson and his "Friendly Mission". Glover himself joined John Batman on an ascent of Ben Lomond in January 1833, as well as making less adventurous excursions to call on Thomas Archer at "Woolmers" and his nearer neighbour Captain Barclay at "Cambock".

Yet there was no let-up in his painting. The recorded visit to the Barclay's was for a portrait sitting. In his more usual line, landscape, Glover's productivity approached his pre-migration levels. By the end of 1834 he had an exhibition's worth of pictures. ...

In Van Diemen's Land, the smoothness and gradual variation of the Burkean Beautiful were recognised in, or rather projected upon, the broad contours of the Tasmanian Midlands. On his first visit to Mills' Plains, Glover wrote to Emma Lord: "I think we shall live principally here, it also suits me because very rich and Picturesque ... I like the country much ...". A characterstic of this part of the island was the openness of the grasslands, described by one contemporary as "moderately wooded by small clumps of trees as if planted by the hand of man to ornament an estate"; Glover himself was to observe that "it is possible almost everywhere, to drive a carriage as easily as in a Gentleman's Park in England."' (D. Hansen, John Glover and the Colonial Picturesque, Hobart, 2003, pp.94-8).
Martens Conradview full entry
Reference: see Christies London, 15 October - 5 November, online auction, Topographical Pictures including China Trade Paintings:
lot 115
Conrad Martens (1801-1878)
The Pass on Mount Victoria on the Bathurst Road
signed and dated 'C Martens / 1836' (lower right), titled on the reverse
watercolour heightened with white and scratching out on paper
unframed
127⁄8 x 183⁄4in. (32.8 x 47.6cm.)
There is a drawing of the same subject in the State Library of New South Wales, Sydney ('Victoria Pass. May 24/38' in Conrad Martens sketches [of New South Wales, 1835-1842, 42, DL PX 24). There are further sketches taken on the Bathurst Road in the National Library of Australia ('On the Bathurst Road' PIC Solander Box A4 #R4465) and British Museum (Mount Victoria on the Bathurst Road (1868, 1114. 367).

Martens, only recently arrived in Sydney, travelled, explored and sketched at the border of colonial expansion in New South Wales in the mid-1830s, just as the roads were being constructed to ease the journey over the barrier of the Blue Mountains. The pass is 'one of the oldest and most significant engineered works in Australia still in use today. ... Victoria Pass, located on the western side of the Blue Mountains, NSW, on the Great Western Highway leading towards Lithgow and Bathurst, was constructed in 1830-1838 using convict labour to surmount a difficult descent off the ridge of the mountains. Halfway down the descent of the pass is an elevated embankment between parallel stone walls. It is this ‘Causeway’, sometimes erroneously referred to as Mitchell’s Bridge and the retaining walls leading up to it, that are perhaps one of Australia’s finest examples of early colonial road engineering. ... The Pass was a practical boon to travellers, since it obviated the extremely steep and dangerous section of the Bathurst Road down Mt. York to Hartley Vale. ... 'The convict built roadway and more specifically the Causeway (Mitchell’s Bridge) is still in use today as part of the major highway feeding the western areas of NSW from Sydney.' (G. Rigden, 'The Victoria Pass Roadway Mount Victoria NSW', 2001, sourced online portal.engineersaustralia.org.au).

Martens had left the Beagle at Valparaíso in October 1834 and sailed across the South Pacific via Tahiti and New Zealand to Australia, arriving in Sydney on March 1835: 'Sydney Harbour entranced Martens from the moment he made his first sketches as the ship entered the Heads. He remained in Sydney for nearly forty-three years - the rest of his life. Almost immediately he travelled to the Illawarra region and the Blue Mountains, wandering, according to the Australian of 31 July 1835, 'in search of the picturesque' and making sketches from which he later executed paintings on commission. He rode a pony and frequently camped in isolated scenic areas, sleeping on at least one occasion in a cave. The sketches he submitted to the newspapers on his return were greeted with acclaim and he was able to secure both commissions and students within three months.' (S. Jones in J. Kerr (ed.), The Dictionary of Australian Artists Painters,Sketchers, Photographers and Engravers to 1870, Melbourne, 1992, p.514)
Gilfillan John Alexander (1793-1864)view full entry
Reference: see Christies London, 15 October - 5 November, online auction, Topographical Pictures including China Trade Paintings:
lot 113 and 114:
John Alexander Gilfillan (1793-1864)
A young naval officer disembarking from a jolly boat
pencil and watercolour heightened with white on paper
unframed
181⁄2 x 163⁄4 in. (47 x 42.5 cm.)
It has been suggested that the present watercolour is a self portrait of the artist, Gilfillan, who was Jersey-born of Scottish parents and spent his early years in the navy, ahead of his career as an artist: '... he had an adventurous and well travelled youth, running away to sea as a cabin boy in a privateer, being shipwrecked and press-ganged before serving for eight years in the Royal Navy in the West Indies, Europe and the Far East. He began sketching while in the navy. A watercolour Self-Portrait in Naval Uniform (private collection) probably dates from 1812. Experiences during his seafaring period provided much subject matter for many later works.' (from Edith Frame's entry on Gilfillan in J. Kerr (ed.), The Dictionary of Australian Artists. Painters, Sketchers, Photographers and Engravers to 1870, Melbourne, 1992, p.293).
Please note this lot is the property of a private individual.
Provenance
Mary Cuthbert Macfadzean, St Kilda Drive, Glasgow, and by descent to the present owner.
AND 114:
John Alexander Gilfillan (1793-1864)
The artist's mother Eliza Gilfillan, and his second wife, Mary Gilfillan (née Bridges), in an interior
pencil and watercolour heightened with white on paper
unframed
183⁄8 x 141⁄4 in. (46.8 x 36.2 cm.)
The present watercolour relates closely to the smaller watercolour by Gilfillan of his widowed mother and his first wife Sarah, now in the Sarjeant Gallery, Wanganui (1943/1/1). The Wanganui watercolour was gifted by Dr H. W. Wilson and Mr J.P. Wilson, and two labels on its later backing board identify the sitters ('Eliza Gilfillan, mother's great aunt' - on a deleted label - and 'Sarah Murray, Gilfillan's fist wife at the spinning wheel'), presumably transcribed from earlier inscriptions by the artist's descendants. Gilfillan lived with his widowed mother in Scotland after his discharge from the navy in 1816, and married his 15-year-old cousin Sarah Murray in Glasgow on 31 July 1826. Sarah, who had four children, died in childbirth in 1837, and Gilfillan married another cousin, Mary Bridges, in 1838. It seems likely that the present watercolour reworks the Wanganui interior, replacing his first wife Sarah with his second wife Mary, with whom Gilfillan and his young family emigrated to New Zealand in 1841. Mary and three of Gilfillan's children were massacred by Maori at their farmhouse in the Matawara Valley, seven miles outside Wanganui, in 1847. Another infant daughter died in the aftermath while Gilfillan and his daughter were recovering in Wanganui.
Please note this lot is the property of a private individual.
Provenance
Mary Cuthbert Macfadzean, St Kilda Drive, Glasgow, and by descent to the present owner.
Gow James photographer 1850sview full entry
Reference: see auction, The Daguerreian Society
Cecil, PA, USA, 15 November, 2020:
Lot 0047
Sixth plate daguerreotype. Original seals. Depicts a man with curly hair, and tinted cheeks and lips, leaning on a tinted tablecloth. Split full case.

Stamped in the lower left corner of the mat, all that is visible is:

MES GOW
GEORGE ST.
YDNEY

Referencing Craig's Daguerreian Registry, by John Craig, there is an entry for James Gow of San Francisco, California, listed with dates 1851 - 1852. Then this: " ...traveled to Australia in early 1853."
Pople Rodneyview full entry
Reference: Rodney Pople on Paper 1980-2020, Australian Galleries exhiition catalogue.
‘About the artist:
Rodney Pople is an interdisciplinary artist that works across various mediums such as painting, photography and sculpture. He completed a Diploma of Fine Arts majoring in Photography from the Tasmanian School of Art in 1974 and later studied sculpture at the Slade School of Art in London in 1978 and the New York Studio School in 1979. Pople has exhibited regularly in Australia for over 30 years and has held international solo exhibitions in Berlin and Shanghai. He is a multi-award winning artist who received the 2016 Paddington Art Prize, the 2012 Glover Prize, 2014 Fishers Ghost Prize, 2009 NSW Parliament Art Prize and 2008 Sulman Prize. He was recently a finalist in the Gallipoli Art Prize, the Muswellbrook Art Prize and the Glover Prize in 2020, as well as the 65th Blake Prize and the Mosman Art Prize in 2018, and has been selected for the Archibald and Wynne Prize over 12 times since 2000. Pople’s work has been included in group exhibitions at the Art Gallery of New South Wales, Sydney and in 2014 his photo-based paintings were held at the Australian Centre of Contemporary Art, Melbourne as part of a major solo exhibition. His work is in the collection of the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne; the Queensland Art Gallery, Brisbane; Artbank, Sydney; Art Gallery of New South Wales, Sydney; and several regional and university galleries.’
Publishing details: Australian Galleries, 2020.
Ref: 1000
Walton W Jview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 715:
W.J. WALTON (from a sketch by Godfrey Charles Mundy)
Eagle Hawk Neck (Tasmania)
1852 lithograph
from "Our Antipodes; or, Residence and Rambles in the Australasian Colonies..."
12.5 x 20cm.
Godfrey Charles Mundy (1804-1860) was a soldier and author who came to Australia in 1846. His book on Australia was published in 1852. This image depicts a "dog line". Following numerous escapes from the newly established Port Arthur Penal Station in the early 1830s, Governor Arthur ordered the stationing of sentries at the Eaglehawk Neck isthmus to prevent escapees from reaching the mainland of Tasmania. In 1832 an officer in charge, Ensign Peyton Jones of the 63rd Regiment, suggested that nine dogs and lamps lined up across the isthmus would provide an early warning system for the sentries. The initial idea was for the dogs to counter the noises of the sea and to alert the sentries to any activity. In the 1850s Port Arthur Commandant James Boyd wrote of the dogs: 'many of them have not been off the chain for years and are consequently very savage'. The dogs remained in use as a deterrent to escape by this route until the late 1870s when the Port Arthur penal settlement was closed.


Mundy Godfrey Charlesview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 715:
W.J. WALTON (from a sketch by Godfrey Charles Mundy)
Eagle Hawk Neck (Tasmania)
1852 lithograph
from "Our Antipodes; or, Residence and Rambles in the Australasian Colonies..."
12.5 x 20cm.
Godfrey Charles Mundy (1804-1860) was a soldier and author who came to Australia in 1846. His book on Australia was published in 1852. This image depicts a "dog line". Following numerous escapes from the newly established Port Arthur Penal Station in the early 1830s, Governor Arthur ordered the stationing of sentries at the Eaglehawk Neck isthmus to prevent escapees from reaching the mainland of Tasmania. In 1832 an officer in charge, Ensign Peyton Jones of the 63rd Regiment, suggested that nine dogs and lamps lined up across the isthmus would provide an early warning system for the sentries. The initial idea was for the dogs to counter the noises of the sea and to alert the sentries to any activity. In the 1850s Port Arthur Commandant James Boyd wrote of the dogs: 'many of them have not been off the chain for years and are consequently very savage'. The dogs remained in use as a deterrent to escape by this route until the late 1870s when the Port Arthur penal settlement was closed.
and lot 716:
Colonel Godfrey Charles MUNDY (1804-60)
four lithographs, c1852,
Ophir Gold Mine
Fording the Ball River
Summerhill Creek near Langs Point
Illawarra, A Salt Lagoon
all from "Our Antipodes: or, Residence and Rambles in the Australasian Colonies. With a Glimpse of the Gold Fields."
and all approx. 11 x 18cm each.
Mundy had accompanied his cousin, Governor Sir Charles Fitzroy, on several tours which had taken him to Victoria, Van Diemen's Land and parts of New South Wales.

Philip James P 1830 - 1865view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 718:
James B. PHILIP (1830 - 1865)
CONGREGATIONAL CHURCH. DAVEY STREET, HOBART TOWN - TASMANIA.
sepia lithograph printed by James Fergusson, Melbourne, c 1854,
sheet size 55 x 38cm.


Clark Thomasview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 730:
THOMAS CLARK (Britain, Australia, c1814 - 1883) (attrib.)
(At the Estate of Madame Pfund, Mount Macedon), c1868,
watercolour, 
19 x 27.5cm.
Provenance: The estate of G. Page Cooper, auction at the Melbourne Town Hall, July 1936.
Joshua McClelland attended the auction and wrote a review which was published in "The Argus" on July 10, 1936.
Clark arrived in Victoria with his family probably in 1852; according to the Examiner and Melbourne Weekly News, 18 August 1860, he had been well known 'amongst us for several years past' and many of his paintings were in squatters' homesteads. Certainly he had several pictures in the exhibition of the Society of Fine Arts in February 1857. His status established, he was commissioned to paint a portrait of Sir Henry Barkly, governor of Victoria in 1856-63, which was presented to the government in 1868 and is now in the National Gallery of Victoria. In 1869-70 he was briefly instructor in figure drawing at the Carlton School of Design. In 1870 Clark was appointed drawing-master in the newly-created School of Design connected with the National Gallery. 
The Swiss-born Madame Elise Pfund (1833–1921) was the wife of James Pfund, the architect and Victorian Surveyor-General. In 1867 Elise Pfund established Oberwyl, a highly regarded girls’ private school in St Kilda, which continued to operate until 1931. The school was named after her home village in Switzerland, and the institution gained a reputation for its French culture. Together with her husband, Madame Pfund was one of the important patrons of Tom Roberts. Around this time Roberts also painted several portraits of Madame Pfund’s husband, James.


Macarthur-Onslow Elizabeth 1840-1911 attribview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 733:
ELIZABETH MACARTHUR-ONSLOW [1840 - 1911] (attrib.)
(Sydney 1838)
watercolour on paper, laid-down on canvas, c1870,
27 x 36cm.
(Annotated verso "Sydney 1838. B. Onslow, Esq.)
Elizabeth Macarthur Onslow was born at Camden Park in 1840, the only child of James and Emily Macarthur and granddaughter of John and Elizabeth who had established a fine wool industry in New South Wales. In 1867 she married Captain Arthur Onslow and they had eight children, of whom five sons and one daughter survived to adulthood. Her husband Arthur died in 1882. After the death of her uncle, Sir William Macarthur, in 1882 Elizabeth Onslow inherited Camden Park. Ten years later Elizabeth officially changed her surname to Macarthur Onslow. She was patron of a number of voluntary organisations including the Camden School of Arts and the Camden Agricultural, Horticultural and Industrial Society, which held the first Camden Show in 1886. 
Boswell Edward Blair Buchanan 1860 -1933view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 737:
Edward Blair Buchanan BOSWELL (1860 -1933)
A group of five (5) original landscape watercolour or crayon works around Westport, Buller Bay, Lake Brunner and Auckland, together several family photographs and other ephemera. Various sizes. (11 items).
Gashview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 738:
"GASH" (artist),
A caricature of J.A. Panton, with the title "An Aristocratic Beak" in pen below.
pen & ink on board, circa 1890s,
42 x 24cm.
 
also, another caricature (of an un-named top-hatted bearded gentleman carrying the sceptre of the Speaker) by the same artist. The image is of Matthew Henry Davies, who was the 5th Speaker of the Victorian Legislative Assembly 1887 - 1892)
and the same size. (2 items).
 
Joseph Anderson Panton (1831 - 1913) was a magistrate at Heidelberg in Victoria, where he also mapped the Yarra Valley, naming Panton Hill. Panton's Gap where the road to Ben Cairn and Donna Buang branches from the Don Road near Healesville, derives its name from a small house he had there. He also named Mount Donna Buang which he first called Mount Acland but renamed it after learning the Aboriginal name. From Heidelberg, Panton was transferred to Geelong and moved to Melbourne as senior magistrate from 1874 to 1907. It is in his capacity as a "Beak" that he is depicted here. 
 
Regarding M.H.Davies: In January 1893 Davies was committed for trial on charges of conspiracy to defraud by means of a false balance sheet. The trial was delayed until May, at which point the attorney-general, Sir Bryan O'Loghlen, withdrew the charges. Davies took ship to London, but on the orders of the new attorney-general, Isaac Isaacs, he was arrested in Colombo and brought back to Melbourne. After several trials, he was acquitted of the charges, but was declared bankrupt in 1894. He had personal debts of £280,000, and his companies' total losses came to over £4 million —one of the largest corporate defaults in Australian history.
Panton Joseph Anderson (1831 - 1913) view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 738:
"GASH" (artist),
A caricature of J.A. Panton, with the title "An Aristocratic Beak" in pen below.
pen & ink on board, circa 1890s,
42 x 24cm.
 
also, another caricature (of an un-named top-hatted bearded gentleman carrying the sceptre of the Speaker) by the same artist. The image is of Matthew Henry Davies, who was the 5th Speaker of the Victorian Legislative Assembly 1887 - 1892)
and the same size. (2 items).
 
Joseph Anderson Panton (1831 - 1913) was a magistrate at Heidelberg in Victoria, where he also mapped the Yarra Valley, naming Panton Hill. Panton's Gap where the road to Ben Cairn and Donna Buang branches from the Don Road near Healesville, derives its name from a small house he had there. He also named Mount Donna Buang which he first called Mount Acland but renamed it after learning the Aboriginal name. From Heidelberg, Panton was transferred to Geelong and moved to Melbourne as senior magistrate from 1874 to 1907. It is in his capacity as a "Beak" that he is depicted here. 
 
Regarding M.H.Davies: In January 1893 Davies was committed for trial on charges of conspiracy to defraud by means of a false balance sheet. The trial was delayed until May, at which point the attorney-general, Sir Bryan O'Loghlen, withdrew the charges. Davies took ship to London, but on the orders of the new attorney-general, Isaac Isaacs, he was arrested in Colombo and brought back to Melbourne. After several trials, he was acquitted of the charges, but was declared bankrupt in 1894. He had personal debts of £280,000, and his companies' total losses came to over £4 million —one of the largest corporate defaults in Australian history.
de Sales Joubert Francois view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 744:
ALFRED JAMES VINCENT [1874 - 1915],
Exhibition trio,
pen and ink on board, signed lower right,
26 x 34cm.
Vincent took over from Phil May at "The Bulletin". The two bearded gentlemen being carried away are believed to be Jules Francois de Sales Joubert and Edward Combes, who had been involved in organizing Australian exhibits in the 1880s-90s.
Vincent Alfred James 1874-1915view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 744:
ALFRED JAMES VINCENT [1874 - 1915],
Exhibition trio,
pen and ink on board, signed lower right,
26 x 34cm.
Vincent took over from Phil May at "The Bulletin". The two bearded gentlemen being carried away are believed to be Jules Francois de Sales Joubert and Edward Combes, who had been involved in organizing Australian exhibits in the 1880s-90s.
Croxford Thomas Swainson ( - 1916)view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 750:
THOMAS SWAINSON CROXFORD (? - 1916),
coastal scene,
monochrome oil on board,
signed lower left "T.S. Croxford",
40 x 31cm
Roberts Mary Ellen 1866-1924view full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 759:
MARY ELLEN ROBERTS [1866 - 1924]
(The dressmaker)
oil on canvas, circa 1905
signed "M.E.Roberts" lower left,
61 x 61cm.
NB: There is a possibility that this fine work is a painting of Mary Ellen Roberts and not a painting by her. While there have been two small works in pastel offered at auction by Roberts, she was much better known for her dressmaking skills. She became a teacher of dressmaking at Sydney Technical College in May 1900 and was later instrumental in the transfer of women's handicraft courses (including tailor's cutting, corsetry and lacemaking) to East Sydney Technical College. She was a capable organist, a vice-president of the Feminist Club and the Silk Culture Society of New South Wales. She also found time to establish a much admired garden of native flora at Turramurra.
McCarthy A Wview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 767:
A. W. McCARTHY
Three fine silhouette images featuring horses (2 titled and framed together, "Market Day" & "Coal Rations") and another, being a portrait of McCarthy by his daughter. (4 items in 3 frames),
the largest 36 x 21cm (overall), c1916.
Besides being a silhouette artist, A.W. McCarthy had the contract for the conveyance of mails between Bega and Candelo as well as other business interests in the area.


Driffield Lance Wview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 779:
LANCE W. DRIFFIELD (- 1943)
also known as "Driff"
A society lady in wide-brimmed hat,
extravagant fur coat, a walking cane in one hand, 
a small dog in the other,
pen and ink and white highlights on board<
signed "DRIFF '23" at centre right,
27 x 21cm.
Driffield was active in the 1920s and '30s as a newspaper and magazine cartoonist and illustrator. He was a staff artist on Smith’s Weekly and a prolific contributor to the Bulletin. He was one of the 25 foundation members of the Society of Australian Black and White Artists in 1924, all of whom contributed to the Society’s first publication commemorating the visit of the US Fleet in 1925. According to Vane Lindesay (1994), 'Driff’ became known throughout Australia in the early 1930s on the strength of one drawing, an advertising poster showing a fuming, bewhiskered cow-cocky carrying a double-barrelled shotgun and shouting, “Hey, who pinched my Smith’s Weekly ?” As a colour poster, this went up on almost every railway station in the Commonwealth. 
Driff - see Driffield Lance Wview full entry
Reference: see Leski Auctions, Australian & Historical , 28-9 November, 2020, lot 779:
LANCE W. DRIFFIELD (- 1943)
also known as "Driff"
A society lady in wide-brimmed hat,
extravagant fur coat, a walking cane in one hand, 
a small dog in the other,
pen and ink and white highlights on board<
signed "DRIFF '23" at centre right,
27 x 21cm.
Driffield was active in the 1920s and '30s as a newspaper and magazine cartoonist and illustrator. He was a staff artist on Smith’s Weekly and a prolific contributor to the Bulletin. He was one of the 25 foundation members of the Society of Australian Black and White Artists in 1924, all of whom contributed to the Society’s first publication commemorating the visit of the US Fleet in 1925. According to Vane Lindesay (1994), 'Driff’ became known throughout Australia in the early 1930s on the strength of one drawing, an advertising poster showing a fuming, bewhiskered cow-cocky carrying a double-barrelled shotgun and shouting, “Hey, who pinched my Smith’s Weekly ?” As a colour poster, this went up on almost every railway station in the Commonwealth. 
Forlong-Gordon Thomas Alexander George Captainview full entry
Reference: see FORUM AUCTIONS, 27.5.21, lot 92: India, Burma & the River Irrawaddy.- Forlong-Gordon (Thomas Alexander George, Captain, surveyor in Burma, 1831-1914) Travel Journal, autograph manuscript, 310pp. excluding blanks (180pp. of diary and 130pp. of verse), a few pp. in pencil, 12 pencil sketches, some ff. loose, a few manuscript pieces loosely inserted, inner hinges broken, original half morocco, rubbed, gilt spine, some ff. edges with tears, sm. 4to, 1853-55.

⁂ "... the few inhabitants are fearful of going out of their doors almost, Tigers are so numerous. A poor native has just been killed while carrying a letter across the Aracan... ." - Forlong-Gordon.

Forlong-Gordon was the youngest son of William Forlong of Erines. In 1852, aged 21, he he set sail for Australia and experienced "cattle driving, horse hunting, shepherding, bullock driving... all so much in unison with my ideas of pleasure and freedom". In December 1854 he left Port Phillip on the Barque Appolline and sets sail for Calcutta. In India, he notes the high mortality rate, "Draper-dying of consumption", Bombay, "is a very dirty place... nor think it comparable to Madras. In Burma, Forlong -Gordon joins his brother in Prome as a trainee surveyor, Major General James Forlong, road engineer and later Chief Engineer to the Governor of Oudh. On the way he mentions the devastation caused by the second Burmese War and proves a perceptive observer, on tobacco production, the manner in which the natives use teak forests, the death of Captain Matagan, "killed by a band of armed Burmese... held him down while the others wounded him in 22 places", roads collapsing, difficulty of sleeping at night due to the rain and "the howling of tigers & wild elephants", visits Rangoon before leaving for India.
Becker Ludwigview full entry
Reference: see Theodore Bruce Auction, 17.5.21. lot 6203:
LudwigBecker
(1808-1861) Germany/Australia
Jean Jacques von Coll (Johann Jakob Ritter und Edler von Coll) (1814-1852) 1834
Pencil & watercolour on card
Signed & dated lower right
Inscribed verso: Ritter Edler von Coll/ Regierungsrat zu Wies baden/ im/ Herzoglish Nassau ....(indistinct)/ Meber L Becker 1834 (indistinct)
(English translation: Ritter Edler von Coll/ Senior Civil Servant of Weisbaden, of the Duke of Nassau....indistinct)
22.3 x 16.5 cm (oval), 26.8 x 22 cm sheet, framed

LITERATURE:
Becker, painter, sketcher, botanical artist, engraver, naturalist & explorer was born in Offenbach-on-Main, Germany. He attended Ludwig Georg Gymnasium, where teachers from Darmstadt Gallery taught painting & where he met Johann Kaup, whose books Gallerie de Amphibien (1826) & Tierreich in seinen Hauptformen Systematisch Beschrieben (1835-37) he helped illustrate. From 1829 he worked as a painter for the publishing firm of Heinrich Ludwig Bronner at Franfurt-on-Main, he studied lithography at the Stadelesche Institut under Peter Vogel & began painting portraits, "none from this period are known". (However, JJ von Coll is from this period) From 1840-1844 he went to Mainz & was court painter to the Archduke of Hesse-Darmstadt. He supported the unsuccessful German liberal revolutions of 1848 & moved to England in 1850 where he read papers to the British Asociation for the Advancement of Science in Edinburgh after which he decided to move to the New World leaving Liverpool for Australia & arriving in Launceston in March 1851. Paying his way by taking miniature likenesses. He remained in Tasmania for nearly two years. In November 1852 he moved to Victoria, spending two years on the Bendigo goldfields & held an exhibition of these works in Melbourne in 1854. In June 1860 he was appointed artist & naturalist on the Victorian Exploring Expedition to the Gulf of Carpentaria led by Robert O'Hara Burke, an expedition on which he died on 29 Aprl 1861 at Bulloo, Queensland. Kerr, Joan. ed. The Dictionary of Australian Artists to 1870, Oxford University Press, Melbourne, 1992, pp 59-60

Johann Jakob von Coll was born in Wiesbaden in 1814, the son of Clemens Wenzeslaus Ritter und Edler von Coll & his wife, Maria Christina Theodora Liel. Johann Jakob's father studied law in Marburg passing his exam in 1802. He was a member of the war council; a member of the war quorum & ruling government. This lineage has been traced back to the year 1390. The family coat of arms is from 1735 & is based on an earlier coat of arms. Nearly all of Johann Jakob's descendants were lawyers, judges and politicians.
Von Coll had been trained for a career in the Nassau Military, however, in 1841, when he was 27 years old, he l was involved in a duel with a man named Schliter, who was postmaster of Weisbaden. The pistols had been handed out, however, the two men came to an agreement saying that they didn't know who had really made the first insult. With no further action taken, they shook hands & left the scene. There were many rumors about the termination of this duel, von Coll was afraid for his honor as a military officer. Duke Adolphe of Nassau (1817-1905) advised him to resign from the Nassau Military & to volunteer & serve in the military of a foreign country. Taking his advice, he chose France. The Duke gave him 1,000 Gulden for expenses. After touring Paris for several months, he finally joined the French military. He spoke French fluently & changed his name to Jean Jacques von Coll. He was discharged him due to ill health. Returning home, the Duke informed von Coll that he had found him a new challenge--"Texas". He sailed to Texas in 1845, with Prince Carl of Solms-Braunfels, as the commercial agent for the Adelsverein (Society for the Protection of German Immigrants in Texas) . He led the emigrant's wagon train from the Texas coast to the new colony. He was bookkeeper to the immigration organization, & was tasked with keeping & distributing supplies for the colony. In 1852, he was elected mayor of New Braunfels, however, only served two months as Volker, a farmer, attesting the Adelsverein was a criminal organization challenged Von Coll who took offense. Volker attacked him with a knife; grabbed the pistol shot von Coll in the back & killing him. He left a widow, Margarethe Elisabeth Schertz Von Coll (1832-1906) & two small daughters Kathinka (1849-1931), who married future Senator William (Wilhelm) Clemens (1843-1909) & Elisabeth (Bettie) (1851-1930).
Fey, Everett Anthony. New Braunfels: The First Founders, The Sophienburg Museum & Archives, New Braunfels Texas, 1994

Béchard Henri, active 1870-1880view full entry
Reference: see DOMINIC WINTER AUCTIONS, UK, 19 May 2021, lot 113: Béchard (Henri, active 1870-1880). An album of approximately 70 mounted albumen print photographs, circa 1880, comprising 12 large views of Cairo by Henri Béchard mounted on rectos and versos of six card leaves, each signed, numbered and captioned in the negative, 37 x 26.5 cm, plus 12 smaller portraits of unidentified Middle Eastern and Turkish people by unidentified photographers, 13.5 x 10 cm, mounted on two leaves, the remainder of the album comprising approximately 47 uncaptioned albumen print photographs of various sizes, with scenes in Italy, Turkey, Australia, USA and Europe, mounted singularly and as multiples on 17 card leaves, all edges gilt, contemporary half morocco, rubbed, oblong folio (34 x 42.5 cm)

Qty: (1)
Longstaff William Frederick 1879-1953view full entry
Reference: see MCTEAR'S auction, Glasgow, 19.5.21, lot 89: CAPTAIN WILLIAM FREDERICK LONGSTAFF (AUSTRALIAN 1879 - 1953), HYDE PARK CORNER, EVENING watercolour on paper, signed, titled in the mount 17cm x 17cm Mounted, framed and under glass. Note: One of the very rare series of London night-time scenes by an artist who achieved international acclaim for his 1927 painting "Menin Gate at Midnight" also known as "Ghosts of the Menin Gate". Will Longstaff truly excelled at night-time scenes with monumental architecture and people portrayed in moonlight and yet he painted only four or possibly five known war memorial compositions and a small series of London night-time scene watercolours, preferring to focus on landscapes, portraits and still lifes. Menin Gate at Midnight was painted to commemorate those soldiers with no marked graves on the Western Front during the First World War. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night and on returning to his studio in London he painted 'Menin Gate at Midnight' in a single session. He painted a story of the missing soldiers coming back to rest at last in the memorial at Ypres, not to haunt the living anymore. At last there was a proper place of mourning and a proper resolution of the soldiers’ story. The widows, parents and the children could now become fully what they were, and accept the dead men’s memories into their own. The painting caused a sensation. People crowded in to see it in London, Manchester and Glasgow. It was shown at Buckingham Palace by royal command. Lord Woolavington, formerly Sir James Buchanan, a wealthy whisky distiller and philanthropist whose wife had nursed wounded soldiers in London hospitals, bought the picture for the remarkable sum of £2,000, perhaps £300,000 in today’s money and double the price of comparable works by the best known artists of the day. Woolavington gave the painting to Australia. The painting toured in every Australian State. Every exhibition drew record crowds, and seasons were often extended. In Perth, a city of some 163,000 people, the public art gallery recorded more than 100,000 visits. Today 'Menin Gate at Midnight' has achieved the status of a national icon. One of Will Longstaff's best known collectors was Sir Arthur Conan Doyle and he bought one of the other three war memorial paintings which Longstaff created. Conan Doyle and Longstaff "had rooms" in the same building on the Buckingham Palace Road and both had a well documented interest in Spiritualism. These four paintings were brought together for the first time as the Australian War Memorial's Exhibition "Will Longstaff: Art & Remembrance" (20 November 2001 to 10 February 2002). Will Longstaff died on 1 July 1953 at Littlehampton, Sussex.
Patterson Janetview full entry
Reference: see WOOLLEY & WALLIS, auction UK, 11-12 May, 2021:
lot 571: Janet Patterson (Scottish b.1941)
Pelican, near Cairns, Northern Queensland
Inscribed PELICAN NR CAIRNS/NORTHERN/QUEENSLAND and with various annotations (to verso of each canvas)
Acrylic on two conjoined canvases
127 x 214.5cm
Provenance:
The Scottish Gallery, London & Edinburgh;
Property of Sir George and Lady Bain
Wilmot Cview full entry
Reference: see Sworders auction, UK, 18.5.21, lot 170: Company School, 19th century
Parakeet:
Parrot;
and one further exotic bird study
watercolour and bodycolour, watermark 'C. WILMOT 1825'
20.5 x 16cm and similar (3)
Waite James Clarkeview full entry
Reference: see Broward Auction Gallery, Florida, USA, 5 July, 2021, lot 190:
ARTIST: James Clarke Waite (British, Australia, 1832 - 1921)
NAME: Courting Couple
MEDIUM: oil on canvas
CONDITION: Relined. Minor craquelure. No visible inpaint under UV light. Minor damages to frame.
SIGHT SIZE: 20 x 16 inches / 50 x 40 cm
FRAME SIZE: 29 x 25 inches / 73 x 63 cm
SIGNATURE: lower right
PROVENANCE: Grand Central Art Gallery NY (has gallery label on verso)
CATEGORY: antique vintage painting
AD: ART CONSIGNMENTS WANTED. CONTACT US
SKU#: 118719
US Shipping $75 + insurance.

BIOGRAPHY:
Born in England and active in London from 1863 until 1885, James Clarke Waite likely acquired his meticulous genre style at the Royal Academy, where he often exhibited. A member of the Royal Society of British Artists, he showed more than 117 works at Suffolk Street. He also exhibited at the British Institution and the Old Watercolour Society. Around 1885, Waite emigrated to Australia, where he remained for the rest of his life, finding additional success as a portrait and history painter.The subject of a convalescing Confederate officer is a curious departure for the artist, who specialized in scenes of children with pets, such as Feeding the Kitten, or elderly people, as in The Widow's Consolation and A Rest Well Earned. It was probably inspired by accounts of the war that appeared in the British press. Waite would have been familiar with the illustrations of Winslow Homer and Alfred Waud, and must have also seen the paintings of George Lambdin, who developed themes that represented the domestic trials of the conflict, such as that presented here.Waite's ability at painting still-life detail and his vibrant sense of color are evident in this rare example from his early career. Indeed, so exacting is the detail that it is possible to identify the soldier's rank and unit, and to date the scene early to mid-war, as the blue trim embellishing the uniform was thereafter discontinued. The inclusion of the Richmond Daily Sun suggests that the soldier served under Generals Robert E. Lee and Thomas "Stonewall" Jackson. Waite may have painted the scene for a patron. In the early years of the war, Great Britain and other European countries were inclined to favor--or at least to sympathize with--the Confederacy. The upper classes looked upon the Southern planter as an aristocrat with whom they had much in common, while Robert E. Lee was admired for his gallantry and military brilliance.In 1901, Waite was commissioned by the Australian government to produce one of the country's most historically important artworks, The Opening of the First Parliament of the Commonwealth of Australia, for the Melbourne Exhibition Building. The contract required him to include correct representations of 269 various political leaders and aristocrats. Sixty-nine years old and in frail health, Waite was unable to begin the project, and the contract was given to Tom Roberts.

French Designs On Colonial New South Walesview full entry
Reference: French Designs On Colonial New South Wales, Francois Peron. François Péron's memoir on the English settlements in New Holland, Van Diemen's Land and the archipelagos of the great Pacific Ocean, translated and edited with an introduction, notes and appendices B, Jean Fornasiero & John West-Sooby. [’The Friends of the State Library of South Australia are soon to publish the fifth title in their series based on Nicolas Baudin’s voyage to the ‘Southern Lands’ during the years 1800 to 1803.
François Péron’s secret report was intended to inform Napoleon that it would be easy to invade New South Wales and make the British colony a French possession in the Pacific. The deported Irish nationalists, it was claimed, would be
eager to assist the French in such a plan. This document also confidently predicted that the British would shortly move to establish settlements in Tasmania and other parts of mainland Australia, so as ‘to exclude from these shores such formidable rivals as the French’. Peron’s report, presented for the first time in its entirety in English translation, highlights the strategic importance of the Port Jackson colony to Britain’s interests in the Pacific.
Translated by Professor Jean Fornasiero and Associate Professor John West-Sooby of The University of Adelaide, this book will add to the debate around the decision to found a settlement in Cook’s ‘New South Wales’. The translators have written an extensive and erudite introduction which places Peron’s work in historical context. The book includes a selection of letters and other contemporary documents commenting on the state of the colony at the time. This is a stimulating volume, richly illustrated, which will be widely read and discussed; it is sure to be of particular interest to those attracted to historical speculation about what might have been.’]
Publishing details: The Friends Of The State Library Of South Australia, 2014, First Edition, 396 pages
Ref: 1009
Peron Francois view full entry
Reference: French Designs On Colonial New South Wales, Francois Peron. François Péron's memoir on the English settlements in New Holland, Van Diemen's Land and the archipelagos of the great Pacific Ocean, translated and edited with an introduction, notes and appendices B, Jean Fornasiero & John West-Sooby. [’The Friends of the State Library of South Australia are soon to publish the fifth title in their series based on Nicolas Baudin’s voyage to the ‘Southern Lands’ during the years 1800 to 1803.
François Péron’s secret report was intended to inform Napoleon that it would be easy to invade New South Wales and make the British colony a French possession in the Pacific. The deported Irish nationalists, it was claimed, would be
eager to assist the French in such a plan. This document also confidently predicted that the British would shortly move to establish settlements in Tasmania and other parts of mainland Australia, so as ‘to exclude from these shores such formidable rivals as the French’. Peron’s report, presented for the first time in its entirety in English translation, highlights the strategic importance of the Port Jackson colony to Britain’s interests in the Pacific.
Translated by Professor Jean Fornasiero and Associate Professor John West-Sooby of The University of Adelaide, this book will add to the debate around the decision to found a settlement in Cook’s ‘New South Wales’. The translators have written an extensive and erudite introduction which places Peron’s work in historical context. The book includes a selection of letters and other contemporary documents commenting on the state of the colony at the time. This is a stimulating volume, richly illustrated, which will be widely read and discussed; it is sure to be of particular interest to those attracted to historical speculation about what might have been.’]
Publishing details: The Friends Of The State Library Of South Australia, 2014, First Edition, 396 pages
Baudin view full entry
Reference: French Designs On Colonial New South Wales, Francois Peron. François Péron's memoir on the English settlements in New Holland, Van Diemen's Land and the archipelagos of the great Pacific Ocean, translated and edited with an introduction, notes and appendices B, Jean Fornasiero & John West-Sooby. [’The Friends of the State Library of South Australia are soon to publish the fifth title in their series based on Nicolas Baudin’s voyage to the ‘Southern Lands’ during the years 1800 to 1803.
François Péron’s secret report was intended to inform Napoleon that it would be easy to invade New South Wales and make the British colony a French possession in the Pacific. The deported Irish nationalists, it was claimed, would be
eager to assist the French in such a plan. This document also confidently predicted that the British would shortly move to establish settlements in Tasmania and other parts of mainland Australia, so as ‘to exclude from these shores such formidable rivals as the French’. Peron’s report, presented for the first time in its entirety in English translation, highlights the strategic importance of the Port Jackson colony to Britain’s interests in the Pacific.
Translated by Professor Jean Fornasiero and Associate Professor John West-Sooby of The University of Adelaide, this book will add to the debate around the decision to found a settlement in Cook’s ‘New South Wales’. The translators have written an extensive and erudite introduction which places Peron’s work in historical context. The book includes a selection of letters and other contemporary documents commenting on the state of the colony at the time. This is a stimulating volume, richly illustrated, which will be widely read and discussed; it is sure to be of particular interest to those attracted to historical speculation about what might have been.’]
Publishing details: The Friends Of The State Library Of South Australia, 2014, First Edition, 396 pages
French Salons and Australasian Artists view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Abbott Inez 1 exhibit 1932view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Adam Edith Constance NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Adet Emile or Adrien Emileview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Greene Annie Alison see also Alison-Greeneview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Alison-Greene Annie see also Greene Annie Alison view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Alston Abbey or Abyview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Ashton Willview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Baker-Clack Arthurview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Clack see Baker-Clack Arthurview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Baker Christina Asquithview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Barker Mlle Carolineview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Birley Oswald Hornby Joseph NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Blashki Miles Evergoodview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Evergood Miles see also Blashki Milesview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Bowen Stellaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Bowman Myril McDougall see also Bowman-Lloyd Myrilview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Bowman-Lloyd Myril see also Bowman Myril McDougall view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Boxall Arthur d’Auvergneview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Brockes Mlle Mayview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Brooke Edmund Walpoleview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Brookes Mayview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Brooks Ivan Wilkieview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Bryant Annieview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Bryant Charlesview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Buckland-Wright John NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Bunny Rupertview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Burge Maud NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Burgess Arthurview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Burgess Arthur James Wetherallview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Burnett-Nathan Adelaide A or Nathan Adelaide, possibly Brunettview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Brunett see Burnett-Nathan Adelaide A or Nathan Adelaide, possibly Brunettview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Butler Margaret NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Carrick-Fox Ethelview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Chapman Clara Vera aka Eichelbaum NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Eichelbaum Clara Vera NZ aka Chapman view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Chapman Grace Evelynview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Chapman William Ernest NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Coates George Jamesview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Coffey Alfredview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Colahan Colinview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Colquhoun Archibald Douglasview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Conder Charlesview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Cordova Joseview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Crane Olive Catherineview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Crowley Graceview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Danciger Aliceview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Davidson Bessieview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Dend Vera Helenview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Degden Maryview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Farmer Johnview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Fern Emily Isabelview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Fox Emanuel Philipsview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Fox Carrick see also Carrick-Foxview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Fricke Olive Aliceview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Fry Edith or Edith Mayview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Fuller Florence Adaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Geach Portiaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Gibson Bessie Elizabethview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Goldie Charles Frederick NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Goninan Alfredaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Goodhart Joseph Christianview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Goodsir Agnes or Agnes-Noyesview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Grier Edmund Wyly sculptorview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Grier Louisview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Gruner Elioth Lauritz Leganyerview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hales Samuel NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hallen Ambrose Lancelotview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hampel Carlview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hansen Theo Brookeview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Harrison Eleanor Ritchieview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hazsard Rhona NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hodgkins Frances Mary NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Honey Constance Winifredview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hookey Mabelview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hope Edith Aimeeview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hornel Edward Atkinsonview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Hurry Mary Farmer ‘Polly’view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
James C Elizabethview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Jenkins Constance Lillianview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Joel Grace NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Jones Marionview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Jorgensen Justusview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Kelly Anna Elizabeth nee Abbottview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Abbott Anna Elizabeth later Kelly view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Kelly Cecil Fletcher NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Lamb Henryview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Lambert George Washingtonview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Lane Lillias Cole NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Leist Fredrick Williamview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Lever Hayley Richardview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Lewis Martinview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Lloyd Normanview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Longstaff John Campbellview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
McCubbin Frederickview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
MacDonald Amelia Jessieview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
McEldowney Iva Helen Latitia NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
McFurson or MacPherson Fannie Fetherstonhaugh aka Fanny Holdroydview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Holdroyd Fanny aka McFurson or MacPherson Fannie Fetherstonhaugh view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
MacPherson Fannie Fetherstonhaugh aka Holdroyd Fanny aka McFurson view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
MacGaw John Thoburnview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Macky Eric Spencer NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Mackennal Edgar Bertramview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
MacPherson Margaret Rose or Prestonview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Preston Margaret Rose or MacPherson view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Maistre Roy de see de Maistreview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
de Maistre Roy see also Maistre Roy de view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Martin Maxview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Meeson Doraview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Meldrum Maxview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Menpes Mortimerview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Mercer Marie Cockburnview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Merton Owen NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Monier-Williams Cicely Hilda NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Baden-Powell H aka Monier--Williams Cicely Hilda NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Montefiore Edward Levyview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Morrah Elsaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Muntz Margaret Josephine or Muntz-Adamsview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Muntz-Adams or Muntz Margaret Josephine orview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Muskett Aliceview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Nankivell Frank Arthur view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Napier-Bell Elise NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Napier-Bell Elise NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
O’Connor Kathleen Laetitiaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
O’Connor Kathleen Gilvertonview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Officer Edward Cairnsview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Owen Gladysview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Parker Haroldview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Patterson Ambrose McCarthyview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Paul Emileview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Paxton Josephineview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Perry Adelaide Elizabethview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Phillips Rosetta Phoebeview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Pool Smith Leslie Robert NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Power Harold Septimusview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Quinn Jamesview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Rae Isobel or Isoview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Ramsay Hughview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Rentoul Outhwaite Idaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Outhwaite Ida Rentoul view full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Reynell Gladysview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Riggal Louisa Blancheview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Rix Hilda Emilyview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Nicholas Hilda Rix see Rix Hilda Emilyview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Rose Herbertview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Rowell John Thomas Nightingaleview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Russell John Peterview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Saint-Maur-Morse Marieview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Saint-Paul Alexander Angoveview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Saint-Paul Allaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Scize Pierre aka Francois Michel Piotview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Piot Francois Michel aka Scize Pierreview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Sciott Eric Giddonview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Scott James Fraser NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Sherwood Maud Winifred Kimbellview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Shore Arnoldview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Simon Naomi Bview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Smythe Marjorie Kaneview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Stephens Ethel Annaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Streeton Arthurview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Strutt Alfred Williamview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Swan Torfridaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Teague Violetview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Thompson J L NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Thompson Nona Eugenie NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Thompson Sydney Lough NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Traill Jessie C Aview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Tuck Marie Anneview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Tuck Isabella Mary Stuartview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Tucker Tudor Saint Georgeview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Vyner Madelaine NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Waterlow Hinemoa Pukoia NZview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Watson Jeanie Gview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Watson Mabelview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Woolriych Francis Humphrey Wview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Wilson Nellview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Wriqut Annaview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Baird Johnview full entry
Reference: see Gibson’s Auction, Property from the Private Collection of Trevor Kennedy AM Part I, June 6, 2021, Armadale, Australia:
Lot 178, Description: A carved kerosene shale portrait bust by John Baird, Sydney, circa 1885
reputedly an image of John Baird's son, Lignite
48cm high

PROVENANCE
J.B. Hawkins Antiques

NOTE
John Baird (1834-1894) was an amateur sculptor who was a postman in Sydney. He worked in kerosene shale, an unusual material for sculpture, which was mined on the North Shore and at Hartley and although he did not exhibit his work during his lifetime it was the subject of an article in the "Illustrated Sydney News" in 1886 titled Carvings in Shale- a Sydney Postman's Discovery. He specialised in animals, medallions of notable people, and members of his family. The bust of Jane, his wife, is in the collection of the National Gallery of Australia.
Hainsselin Hview full entry
Reference: see Gibson’s Auction, Property from the Private Collection of Trevor Kennedy AM Part I, June 6, 2021, Armadale, Australia:
Lot 390: Description: H HAINSSELIN
Portrait of a Young Boy in Sailing Suit with Toy Yacht 1883
ceramic tile
inscribed verso: HHainsselin Desd. & Painted St Kilda Victoria Australia 1883
21 x 21cm (framed)
Description: H HAINSSELIN
Portrait of a Young Boy in Sailing Suit with Toy Yacht 1883
ceramic tile
inscribed verso: HHainsselin Desd. & Painted St Kilda Victoria Australia 1883
21 x 21cm (framed)
Dobell William Boy at the Basinview full entry
Reference: see Look Magazine, article on the painting by Susannah Smith, p56-7.
Publishing details: Art Gallery Society of NSW, June-July, 2021.
Warren Guyview full entry
Reference: see Look Magazine, interview with the artist by Tony Magnusson, p64-71
Publishing details: Art Gallery Society of NSW, June-July, 2021.
Brisbane’s Art World to 1970view full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Queensland artview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Aland John 12 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Allen Davida 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Allen Wendy 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Amos Irene 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Barjai 10 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Baker Caroline 7 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Becker Howard S 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Blackman Charles 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Boyd Arthur 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Bustard William 9 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Cameron Betty 7 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Campbell Robert 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Lancaster Charles 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Churcher Betty 8 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Churcher Roy 20 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Cilento Margaret 20 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Clarke Joseph 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Coaldrake Alison 9 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Collinson Laurence 9 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Cooper John 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Crawford Jim 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Dalgarno Roy 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Danto Arthur 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Elliott Mona 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Darnell Collection 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Finney’s Art Gallery 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Foote Muriel 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Friend Donald 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Fristrom Oscar 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Fullbrook Sam 1 refview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Gibbs Cyril 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Grano Paul 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Grant Gwendolyn 1 refview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Grant W G 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Haines Robert 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Haysome Melville 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Hobday Percy Stanhope 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Hope Laurence 13 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Hughes Ray 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Hughes Robert 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Jenner Isaac Walter 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Johnston Brian Gallery numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Knopke Cecel 8 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Lahey Vida 14 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Lancaster Charles 8 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Langer Gertrude numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Leichney Vera 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
MacFarlane Pam 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Macqueen Kenneth 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Mayo Daphne 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Matthews Nevil 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
McKinnon Firmin 8 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Memmott Harry 1 refview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Miya Studio numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Molvig Jon 14 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Moreton Galleries numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Moriarty Mervyn numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Nolan Sidney 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Olley Margaret numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Payne Frankie 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Clifton Mrs - Payne Frankie 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Pedersen E Lilian 9 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Prentice Patricia 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Preston Margaret 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Quelhurst Betty 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Ragless Max 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Randall Richard 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Rees Lloyd 9 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Reid Barrett 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Richards Henry Caselli 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Rigby John 14 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Rivers Godfrey 14 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Roberts F Martyn 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Robinson William 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Rodier-Rivron Richard 7 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Rogers Everett 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Roggenkamp Joy numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Ross Don 7 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Schaffer Bernard 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Seeman Pamela 11 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Shaw Muriel 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Shepherdson Gordon 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Sherrin Frank 12 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Shillam Leonard 4 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Siubley Andrew 15 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Smout Ruth 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
St Mary’s Studio numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Thomas Laurie 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Underhill Nancy 5 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Van Homrigh C M B 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Watt James 2 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Webb Elizabeth 6 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Wieneke James 10 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Wirth Lewis 3 refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Yeates Bronwyn numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Yeates Bronwyn numerous refsview full entry
Reference: see Glory Days: Brisbane’s Art World to 1970, by Judith Hamilton. Includes notes and extensive bibliography. Some biographical information on artists included in passing. With Index.
“This book recounts the glory days when Brisbane was seen as the art capital of Australia. Great artists such as renowned, award winning artist, Margaret Olley and two time Archibald winner, William Robinson, were developing and exposing their skills. Brisbane had many prestigious art galleries, art organisations and groups. These times inspired great art teachers such as Wendy Allen and Mervyn Moriarty who made such a big impact on the education of students in primary and secondary schools and tertiary colleges in the city and country areas of Queensland.” (publisher’s blurb)
Publishing details: Brisbane: Boolarong Press, 2020. 284 pages, photographs, some colour. Illustrated wrappers.
Top arts - VCE students exhibition 2002view full entry
Reference: Top arts - VCE / National Gallery of Victoria - Selected work by secondary students of VCE Arts and Studio Arts. The works of approximately 100 students illustrated with artists’ statements. [To be indexed?]
Publishing details: Melbourne : National Gallery of Victoria, 2002, 49pp
Ref: 140
Top arts - VCE students exhibition 2000-2013view full entry
Reference: Top arts - VCE / National Gallery of Victoria - Annual exhibition. Selected work by secondary students of VCE Arts and Studio Arts. [To be indexed?]
Publishing details: Melbourne : National Gallery of Victoria, c2000-2013 
v. : col. ill. ;
Ref: 1000
VCE students exhibition 2000-2013view full entry
Reference: see Top arts - VCE / National Gallery of Victoria - Annual exhibition. Selected work by secondary students of VCE Arts and Studio Arts. [To be indexed?]
Publishing details: Melbourne : National Gallery of Victoria, c2000-2013 
v. : col. ill. ;
Dent Johnview full entry
Reference: John Dent - Lauraine Diggins Fine Art catalogue, with biography and approximately 30 works illustrated.
Publishing details: Lauraine Diggins Fine Art, 2021, 8-page folding card.
Ref: 36
Justin Miller Art,view full entry
Reference: Justin Miller Art, Winter Exhibition catalogue 2021, with some biographical information.
Publishing details: Justin Miller Art, 2021, pb 41 pp,with price list inserted
Ref: 133
Lawlor Adrian Nude in Archway c1940 with brief essayview full entry
Reference: see Justin Miller Art, Winter Exhibition catalogue 2021, with some biographical information.
Publishing details: Justin Miller Art, 2021, pb 41 pp,with price list inserted
Dufour Joseph wallpaper 1805 with brief essayview full entry
Reference: see Justin Miller Art, Winter Exhibition catalogue 2021, with some biographical information.
Publishing details: Justin Miller Art, 2021, pb 41 pp,with price list inserted
Beynon Kateview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Gill Simrynview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Emmerson Neilview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Goh Emilview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Grounds Joanview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Hoffie Patview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Lee Lindyview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Wei Guanview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Todd Kevinview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Reamillo Alwinview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Watson Judyview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Xian Ahview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Young Johnview full entry
Reference: see Above and Beyond: Austral/Asian Interactions, by Clare Williamson, Michael Snelling. Includes essays and biographical information on artists.
‘Above and Beyond: Austral/Asian Interactions was an exhibition that arose out of a new space which emerged within contemporary practice in Australia over the previous decade. It was a space characterised by complex interchanges between Australia and the many cultures of the Asia-Pacific region manifested across governmental, commercial, and the cultural spheres. This activity has enabled a blurring of borders as well as a greater recognition of the ongoing presence of Asian cultural practices within Australian Art itself. This catalogue highlights these influences by bringing together artists several generations, artists and philosophical positions, ethnic and cultural backgrounds, working in differing media, and with varying degrees of involvement with Asia.’
Publishing details: Melbourne & Brisbane: Australian Centre for Contemporary Art / Institute of Modern Art, 1996.
First Edition.

25cm x 21cm. 48 pages, colour illustrations.
Op Art in Australiaview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Arkley Howardview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Aslandis Johnview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Aspden Davidview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Balsaitis Jonasview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Blanchflower Cathyview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Brennan Angelaview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Christmann Gunterview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Coats Lizview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Dawes Debraview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Dumbrell Lesleyview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Forthun Louiseview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Gower Elizabethview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Groves Helgaview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Harper Melindaview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Hickey Daleview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Hinder Frankview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Hunter Robertview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Hurle Andrewview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Johnson Matthewview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Mais Hilarieview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Moller Veraview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Neeson John Rview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Ostoja-Kotkowski Josephview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Parr Geoffview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Poliness Kerrieview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Reinhard Kenview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Sharp Martinview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
de Soto Jesus Raphaelview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Tabacco Wilmaview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Tu Andreaview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Vickery Johnview full entry
Reference: see Good Vibrations: The Legacy of Op Art in Australia, by Zara Stanhope. Catalogue of an exhibition held at Heide Museum of Modern Art, Bulleen, Victoria, 5 October - 24 November 2002. Includes artists’ biographies. Includes time line and bibliographical references.

Publishing details: Bulleen: Heide Museum of Modern Art, 2002. 52 pages, colour illustrations. Illustrated wrappers.
Hiscock Michelleview full entry
Reference: Michelle Hiscock - Australian Galleries catalogue with 30 works listed and interview with the artist by Nicola Allen (from Scope Magazine SCEGGS Darlinghurst).
Publishing details: Australian Galleries, 2021, 4 pp with prices.
Ref: 106
Antoniou Andrewview full entry
Reference: Andrew Antoniou, Australian Galleries catalogue with 33 works listed. [no biographical information]
Publishing details: Australian Galleries, 2021, 4 pp with prices.
Ref: 106
Scott Eric Giddon or possibly Sciottview full entry
Reference: Australasian Artists at the French Salons, by Tom Thompson. This book lists exhibits by Australasian artists exhibiting at the French Salons and the titles of works exhibited. Some biographical information is included. [’From 1872 to 1939, a significant number of Australian and New Zealand artists were chosen for exhibition at the annual French Salons. The imprimatur of the Salons bestowed prestige, publicity and visibility, and increased an artist's saleability, both at home and abroad. But the character of the Salons fragmented over time and selection became coloured by the nature of the Salon and the values it represented. Tradition, rebellion, innovation and unique interests became arbiters and by the close of these years, France had lost its position as the centre of the art world. With details drawn from the archives of the Louvre, Australasian Artists at the French Salons, is a fascinating and detailed record of the world of these artists ... their allegiance to a studio or master, their subjects, their travels and their locations. We sense their aspirations and their hopes and their excitement at establishing themselves on a world stage. This book includes extensive new information of Rupert Bunny, Bessie Davidson, Iso Rae, Ethel Carrick-Fox and Hilda Rix Nicholas to name but a few.’]
Publishing details: Ett Imprint, 2019, pb, 140pp
Staughton Cathyview full entry
Reference: see Les Ventes Ferraton - Damien Voglaire
Bruxelles, Belgique (auction) Saturday 29 May, 2021, lot 331:06:39 pm STAUGHTON (Cathy). Untitled (2001). Watercolour and pastel on paper, dated and signed on the back, mounted in a white mat and wooden frame. Size of the frame: 48,5 x 66 cm; subject: 32 x 49 cm. Cathy Staughton (°1968) is an Australian artist who has been painting for about thirty years. Her figurative universe is inspired by her close environment, friends, animals, etc. She exhibits and is present in collections in many countries. An exhibition at the MADMusée, in Liège in 2002.
Gallagher Donview full entry
Reference: see auction Saturday 29 May, 2021, Saarbrucken-Scheidt, Allemagne, Dawo Auktionen, lot 122: A. Don Gallagher (Canberra 1925-2017 Melbourne), ,Australian Coastal Landscape at the "Twelve Apostles", 1941, oil on canvas, signed and dated lower right, 57 x 73 cm, in carved gilded frame, composition trained on the art of the European Expressionists, overall size: 73 x 89 cm
Cobb Ronview full entry
Reference: see Chiswick auction, UK, Thursday 10 June, 2021, 4 lots inc 1073: RONALD COBB (AMERICAN-AUSTRALIAN 1937-2020) CARTOONIST/DESIGNER Erotic Cartoons 4 original erotic illustrations from Mayfair Magazine depicting women in revealing poses while engaged in music activities, signed 'Ronald Cobb', pen and black ink and watercolour, all unframed, c.390 x 260 mm. n.p. [n.d. but c.1989] (4) ***Cobb an American/Australian artist well known for design work on major Hollywood Sci-Fi productions including Star-Wars, Alien and Conan the Barbarian to name but a few.
Daniels Gerview full entry
Reference: see Arenberg Auctions, Bruxelles, Belgique, 17.6.21, lot 307:
DANIËLS, Ger Australia: An aboriginal with heavy scarifications. 1990 Drawing, pen and black ink, watercolour, 38 x 27 cm, thick paper, signed and dated at lower right. Under passe-partout. Large original drawing for a book illustration by the Dutch artist Ger Daniëls (1943-2020), documenting the tattoos and scars as ritualistic device.
Trescott Shonah view full entry
Reference: see Van Ham auction, Cologne, Allemagne, 23.6.21:
Shonah Trescott
TRESCOTT, SHONAH 1982 Maitland, Australia Title: "Turmoil I". Date: 2009. Technique: Oil on canvas. Measurement: 50 x 70cm. Notation: Signed, dated and titled verso: S. Trescott 2009 Turmoil I.

LIVE
Shonah Trescott
TRESCOTT, SHONAH 1982 Maitland, Australia Title: "Turmoil II". Date: 2009. Technique: Oil on canvas. Measurement: 50 x 70cm. Notation: Signed, dated and titled verso: S. Trescott 2009 Turmoil II.

LIVE
Shonah Trescott
TRESCOTT, SHONAH 1982 Maitland, Australia Title: "Turmoil III". Date: 2009. Technique: Oil on canvas. Measurement: 50 x 70cm. Notation: Signed, dated and titled verso: S. Trescott 2009 Turmoil III.
Walter Charles (Carl) (1831-1907)view full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
A group of twenty-four stereoscopic views of rock formations and other topographical features along the coastline of southwest Victoria, circa 1865.
Facebook
Twitter
Pinterest
Email
Print
[Melbourne : Age Office, circa 1865]. Twenty-four stereoscopic albumen print photographs, each image approximately 80 x 80 mm (arched format), on original yellow card mounts, 90 x 170 mm, versos with original paper labels printed with the series title ‘AUSTRALIAN SCENERY’ and the photographer’s information ‘Chas. Walter. Photographic Artist to The Illustrated Australian News, The Age Office, Melb. Registered. Copyright’, together with a serial number and location caption in manuscript in ink; all are strong prints with good tonal range, some examples with light foxing or marks, but overall in very good condition; the mounts are uniformly clean and stable, with the all-important labels intact.
An important group of mostly unrecorded photographic views of the Victorian coastline between Cape Otway and Port Campbell, part of the so-called “Shipwreck Coast”. Aside from their aesthetic value – particularly, for example, in the dramatic views of the rock formations we know today as the Twelve Apostles, or of a family collecting fossils on the foreshore, or the views in which we believe the photographer Charles Walter has placed himself in the foreground – many of the images potentially contain information of great significance to geological science, since they provide a very early visual record of this coastal environment that can be used to help evaluate the extent to which its physical appearance has been affected by climate (or, indeed, human activity) over the last 150 years.
The group also has a direct association with Hugh Gibson, owner of Glenample Station which features in many of the photographs; the stereoviews were quite possibly acquired by him directly from Charles Walter, before being given to his sister, Annabella Sloane (see note on provenance below).
German-born photographer Charles (Carl) Walter is perhaps best known for his series of carte de visite portraits of Aborigines taken at Coranderrk Reserve, near Healesville, in the mid 1860s, but between 1865 and 1870 he also produced stereoviews of scenic locations throughout regional Victoria, and in the early 1870s, southern New South Wales.
It is no coincidence that Walter had a predilection for photographing rock formations and other unusual topographical features: keenly interested in the natural sciences, he carried out work for the Technological Museum at the Public Library of Victoria and for the Victorian Department of Agriculture, as well as collecting botanical specimens for von Mueller.
The serial numbers on the present group of Walter stereoviews would suggest that his Australian Scenery series, taken and published around 1865, comprised a relatively large number of images. However, according to Trove, institutional holdings of examples from this series are negligible. Deakin University Library holds one of the images from the group offered here (the view of Curdie’s Inlet), otherwise Trove traces none in Australian collections.
The manuscript captions on the labels in this group are as follows:
227. Curdie’s River
230. Parker Falls, Cape Otway
231. Parker Inlet, Cape Otway
232. Point Franklin Caves, Cape Otway (Note: the seated figure is probably the photographer, Charles Walter)
233. Stellactite [sic] Cave, Cape Otway (Note: the standing figure is probably the photographer, Charles Walter)
237. Gellibrand River and Point Ronald
238. The Hermitage, below steps to beach at Glenample
240. The Hermitage Tunnel at Glenample
242. Sandmirror at Glenample
243. Coast scene near Glenample
244. Coast scenery near Sherbrook [sic], Glenample
245. The Elephant Rock, Glenample
246. The Caves near the Sherbrook [sic]
247. Another Bluff near the Sherbrook [sic]
249. Coast Scene near the Sherbrook [sic]
251. Sherbrook [sic] River and Cerberus Bluff
252. Port Campbell
253. Clifton Castle Rocks on the Western Victorian Coast
254. Fossil Cliffs near the Sherbrook [sic], West Coast Victoria
255. Curdie’s Inlet, West Coast of Victoria
256. Bay of Islands near Curdie’s Inlet
257. Bay of Islands Scene on the West Coast, Victoria
258. Tunnel at the Bay of Islands
259. Bay of Islands Bluff
Provenance: Alexander and Annabella Sloane, of Mulwala and Savernake Stations, southern New South Wales; thence by descent. (Note: Annabella Sloane, née Gibson, was the sister of Hugh Gibson, of Glenample Homestead, the closest pastoral station to the Twelve Apostles)


BATCHELDER & O'NEILLview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Explorer William Landsborough and two of his Aboriginal guides, Jemmy and Jack Fisherman. Melbourne, 1862.
Albumen print photograph, carte de visite format, 98 x 64 mm (mount), verso imprinted ‘Batchelder & O’Neill, 57, Collins Street East, Melbourne’; the print bears a fully contemporary inscription across its bottom edge, identifying the three men as Jemmy (left), Fisherman (centre) and W. Landsborough (right); an absolutely superb print with excellent clarity and beautiful tones, in perfect condition; the mount is also spotless.
An extremely rare carte de visite of the explorer William Landsborough and his two Aboriginal guides, Jemmy and Jack Fisherman, taken in Melbourne in October 1862 after they had completed the first north-south crossing of the continent from the Gulf of Carpentaria. 
In 1861 Scottish-born William Landsborough (1825-1886), a pioneer pastoralist of Central Queensland with extensive knowledge of the interior of the country, had been chosen by the Victorian and Queensland governments to lead a relief expedition in search of Robert O’Hara Burke and William Wills. His small party of eight men, which initially included four Aboriginal guides, headed south from the Gulf of Carpentaria in January 1862 after their first attempt was abandoned due to the threat of flooding. After learning of the fate of Burke and Wills on their arrival at Williams’ station in late May, 1862, the party pushed on southward and eventually reached Melbourne in October.
Two of Landsborough’s Aboriginal guides are posed beside him in this portrait taken in the Collins Street studio of Batchelder & O’Neill: Jemmy, pictured on the left, was a Queensland Native Mounted Police trooper originally from the Deniliquin district in southern New South Wales; while Jack Fisherman, at the centre of the trio, hailed from the Moreton Bay region.
The only examples of this carte de visite which Trove locates are those in the collections of the State Library of Victoria and Federation University (Australia Historical Collection. Geoffrey Blainey Research Centre).
Provenance: Alexander Sloane, of Mulwala and Savernake Stations, southern New South Wales; thence by descent. (Note: both Sloane and Landsborough were from Ayrshire in Scotland)
Catani Ugoview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Two overpainted photographs of young women posed in front of a mirror. Melbourne, circa 1893.
Two albumen print photographs with hand colouring, in identical Paris Panel format, 185 x 125 mm, laid down on the original mounts, 210 x 133 mm. Both photographs were found glued down at the edges to old matting, and their removal from the matting has resulted in the loss of most of the studio imprint across the lower margins of each mount; however, enough of each imprint remains for us to make sense of the information: “THE STUDIO” / [Ugo Catani], 252 Collins Street, Melbourne / (Lambert’s Building). The upper area of one of the portraits has some glue staining, otherwise both prints themeselves are in good condition.
Rare examples of overpainted photographs from Italian artist Ugo Catani’s The Studio, in Collins Street, Melbourne.
The two young women in these artistically composed studio portraits, taken in Melbourne around 1893, are almost certainly the two youngest daughters of Alexandra and Annabella Sloane of Mulwala Station, southern New South Wales: Lavinia Gibson (1866-1932) and Margaret Octavia (1870-1894). Their hairstyles and their dresses – which perhaps belonged to their mother – are of the 1870s; the young ladies may have been dressed for a ball. (Note: their mother, Annabella Sloane, was the sister of Hugh Gibson, owner of Glenample Station in Victoria’s Western District).
Provenance: Alexander and Annabella Sloane, Mulwala and Savernake, southern New South Wales; thence by descent.
Although he was of course principally a professional artist who painted in oils, these two exquisite portraits are evidence that Signor Catani – like so many other nineteenth-century artists – supplemented his main income from art with a sidebusiness in photography. This was a serious enough commercial venture to warrant the expense of having photograph mounts printed which were adorned with his studio name in gilt lettering. The State Library of New South Wales holds in its collection a photographic portrait of the actor Robert Brough which has, like the present two examples, Catani’s “The Studio” imprint (call no. P1/240; reference code 446635). However, we can trace no other institutional examples, a fact which is probably explained by the shortlived nature of Catani’s residency at 252 Collins Street.
But was Catani both photographer and overpainter? Or did a business partner take the photographs which bear his imprint? The following newspaper notice provides a tantalising clue that he was not operating solo at “The Studio”:
From The Argus, 18 September 1893:
‘The STUDIO 252 Collins-street. LEMME and Co. will SELL by PUBLIC AUCTION through Baylee and Co. auctioneers), under instructions from Signor Catani, in consequence of dissolution of partnership, valuable Oil PAINTINGS by Signor Catani Large pier-glasses, overmantel Cabinets, show-cases Screens, studio and saddle bag chairs COLLECTION OF CURIOS Tapestry hangings, elegant settees Large Japanese rugs, &c. Without reserve. Catalogues in preparation. On view 16th September. Lemme and Co., 325 Collins str.’
From 1894 newspaper classifieds, we learn that following Catani’s vacation of the 252 Collins Street premises they became tenanted by the dental practitioners Hayes and Binge.
 
From the DAAO:
Ugo Catani b. 1861
Also known as U. Nicolai Catani
Artist (Painter) … came to Australia in 1885 after training in the Academy of Art, Florence. Resident of Melbourne, Victoria. His oil painting, La Fiorentina, signed and dated ‘U Nicolai Catani/ 1880’, was offered by Christies’ Australia at Melbourne on 7 May 2003, lot 341 (ill. est. $8,000-12,000). A fellow academy student, Girolamo Nerli, accompanied him to Melbourne and over the next nine years Catani shared studios with Nerli, Walter Withers and Arthur Louriero. He became deeply involved in art politics and, with Tom Roberts and the younger painters, rallied against the conservative Victorian Academy to establish the Australian Artists Association (committee member 1887). He exhibited in the Australian Artists Association’s 1887 winter (no.39 ‘Queen’s Wharf’, no.26 ‘What a Guy’) and summer exhibitions.
Catani won awards in the Oil and Watercolour Painting section at the 1888-89 Melbourne Centennial International Exhibition: Honourable Mention for St. Kilda Pier and Stormy Weather and a 3rd order of merit for Studies at Queenscliff, Carnival 1888 (a still life of a hare and turkey for sale at 40 gns, offered by Bridget McConnell in May 2001) and its pair Carême (still life of fish and a lobster 40 gns, also offered Bridget McConnell May 2001 – both in their original Thallon frames with labels verso).Other works he exhibited in the Victorian Artists’ Gallery (Oil Paintings) included no.103 What a Guy! , On the Moorabul and Rêve Dor? , while the Ladies’ Court included a display of 83 paintings and drawings by the ‘Pupils of Signori Catani and Loueiro’ (see Official Record p.658). The Illustrated Sydney News of 27 September 1888, 6 (info. Edwina Deakin) noted of the watercolours in the Victorian Gallery at the 1888-89 Melbourne Centennial Exhibition: ‘Signor Catani’s two pieces of still life, the one representing fish and the other game, as also his fruit on panels, are so cleverly painted as almost to justify him in cultivating this branch of art as a speciality’.
Most of Catani’s income, however, came from portrait painting and teaching, even though he had the reputation of being an impatient and intolerant teacher. In 1890 an article by ‘Excalibur’ about artists’ studios noted: ‘As it was, several of them [Melbourne artists] were out of town, among them being … Mr Catani…’ ( Sydney Morning Herald 8 February 1890, 2: info. Ingrid Anderson). In 1895 Catani arrived in London and exhibited a collection of his world travel paintings; most were of Australian subjects. He returned to Florence in 1923 and is thought to have died there in 1943.’

Scott Montaguview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
SCOTT, Montagu; NETTLETON, Charles
Two studio portrait photographs of Frank George Wormald, chemist. Melbourne, circa 1864 and 1874.
Facebook
Twitter
Pinterest
Email
Print
(1). Albumen print photograph with gold tinting, 101 x 64 mm (mount), verso imprinted ‘Photographed by Montagu Scott, 19 Collins St. East, Melbourne’; the print has a surface scratch at upper right (probably as old as the print itself) and some light marks; the mount is very clean and stable.
In this portrait from around 1864 (Montagu Scott was only briefly active at the 19 Collins Street premises before moving to Sydney) Wormald looks prosperous and dapper in his thirtieth year, posing with a top hat and cane in front of a magnificent painted backdrop. The studio colourist has highlighted his watch chain with a gold tint.
(2). Albumen print photograph with extensive hand colouring, 102 x 62 mm (mount), verso with the highly decorative imprint of the studio of Charles Nettleton, 19 Madeline Street, North Melbourne, together with a contemporary identifying caption in ink: ‘Frank George Wormald / Born October 12th 1834 / Photo taken Oct. 12th 1874’; both the print and mount are in very good condition.
Taken on his 40th birthday – ten years after the Montagu Scott portrait – this slightly garishly coloured portrait from the Nettleton studio shows off Wormald’s red hair and beard. His pose is nearly identical to the earlier photograph, except in this one he holds a pair of gloves in his left hand and his top hat rests on the studio plinth.
 
Newspaper advertisements tell us that in 1863 Frank George Wormald (1834-1881), chemist and druggist, was the proprietor of a pharmacy at 52 La Trobe Street East; he had purchased the business from Messrs. Thompson & Co.
By mid 1865 he was advertising his new premises at 21 & 23 Madeline Street (next door to Nettleton’s studio!).
In February 1867 it was announced that he had received an Honourable Mention at the Intercolonial Exhibition (London) for his ‘colonial-made ink powders and ink’; and in 1868 he advertised his ink as being the most effective available for marking wool bales.
By July 1869, still at the Madeline Street address, he was signing his advertisements with ‘By Appointment to His Excellency the Governor’. Around this time he was busy promoting a carbolic acid soap – ‘Sapo Acidi Carbolici’ – which he manufactured himself. It was claimed to be a ‘valuable disinfecting agent’ and antiseptic.
In 1871 Wormald changed the emphasis of his business entirely: in an extravagant, illustrated advertisement in The Herald on 12 May 1871, he announced his services as a Veterinary Pharmacist, under the patronage of the Governor, Viscount Canterbury, manufacturing and dispensing ‘horse, cattle and dog medicines, made with the purest drugs’.
However, Wormald fell into deep financial trouble and he lost his business: in September 1872, now registered as living in Geelong, he was declared insolvent, the causes for which were stated as being ‘Insufficient capital to carry on his business as a druggist at Carlton, and seizure of stock under a bill of sale’.
In September 1873 he announced a new commercial venture, as ‘Chemist and Druggist’s Broker’ at premises in Grant Street, Emerald Hill.
In 1877 he was living in Sandhurst; and in 1879, in Sale, Gippsland, where he was still recorded as a member of the Pharmaceutical Society of Victoria.
Wormald died at his residence in Clarendon Street, South Melbourne on 11 July 1881, and is buried in the Melbourne General Cemetery, Parkville. Sadly, the last years of his life appear to have been spent in a peripatetic attempt to regain the success of his earlier career.
In 1862 Wormald had married Alice Camps (1833-1881). She died in Melbourne in the same year as her husband.
 
Nettleton Charlesview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
SCOTT, Montagu; NETTLETON, Charles
Two studio portrait photographs of Frank George Wormald, chemist. Melbourne, circa 1864 and 1874.
Facebook
Twitter
Pinterest
Email
Print
(1). Albumen print photograph with gold tinting, 101 x 64 mm (mount), verso imprinted ‘Photographed by Montagu Scott, 19 Collins St. East, Melbourne’; the print has a surface scratch at upper right (probably as old as the print itself) and some light marks; the mount is very clean and stable.
In this portrait from around 1864 (Montagu Scott was only briefly active at the 19 Collins Street premises before moving to Sydney) Wormald looks prosperous and dapper in his thirtieth year, posing with a top hat and cane in front of a magnificent painted backdrop. The studio colourist has highlighted his watch chain with a gold tint.
(2). Albumen print photograph with extensive hand colouring, 102 x 62 mm (mount), verso with the highly decorative imprint of the studio of Charles Nettleton, 19 Madeline Street, North Melbourne, together with a contemporary identifying caption in ink: ‘Frank George Wormald / Born October 12th 1834 / Photo taken Oct. 12th 1874’; both the print and mount are in very good condition.
Taken on his 40th birthday – ten years after the Montagu Scott portrait – this slightly garishly coloured portrait from the Nettleton studio shows off Wormald’s red hair and beard. His pose is nearly identical to the earlier photograph, except in this one he holds a pair of gloves in his left hand and his top hat rests on the studio plinth.
 
Newspaper advertisements tell us that in 1863 Frank George Wormald (1834-1881), chemist and druggist, was the proprietor of a pharmacy at 52 La Trobe Street East; he had purchased the business from Messrs. Thompson & Co.
By mid 1865 he was advertising his new premises at 21 & 23 Madeline Street (next door to Nettleton’s studio!).
In February 1867 it was announced that he had received an Honourable Mention at the Intercolonial Exhibition (London) for his ‘colonial-made ink powders and ink’; and in 1868 he advertised his ink as being the most effective available for marking wool bales.
By July 1869, still at the Madeline Street address, he was signing his advertisements with ‘By Appointment to His Excellency the Governor’. Around this time he was busy promoting a carbolic acid soap – ‘Sapo Acidi Carbolici’ – which he manufactured himself. It was claimed to be a ‘valuable disinfecting agent’ and antiseptic.
In 1871 Wormald changed the emphasis of his business entirely: in an extravagant, illustrated advertisement in The Herald on 12 May 1871, he announced his services as a Veterinary Pharmacist, under the patronage of the Governor, Viscount Canterbury, manufacturing and dispensing ‘horse, cattle and dog medicines, made with the purest drugs’.
However, Wormald fell into deep financial trouble and he lost his business: in September 1872, now registered as living in Geelong, he was declared insolvent, the causes for which were stated as being ‘Insufficient capital to carry on his business as a druggist at Carlton, and seizure of stock under a bill of sale’.
In September 1873 he announced a new commercial venture, as ‘Chemist and Druggist’s Broker’ at premises in Grant Street, Emerald Hill.
In 1877 he was living in Sandhurst; and in 1879, in Sale, Gippsland, where he was still recorded as a member of the Pharmaceutical Society of Victoria.
Wormald died at his residence in Clarendon Street, South Melbourne on 11 July 1881, and is buried in the Melbourne General Cemetery, Parkville. Sadly, the last years of his life appear to have been spent in a peripatetic attempt to regain the success of his earlier career.
In 1862 Wormald had married Alice Camps (1833-1881). She died in Melbourne in the same year as her husband.
 
Paterson Brothersview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Outdoor photograph of a group of Melbourne schoolboys and their female tutors, Melbourne, circa 1870.
Albumen print photograph, carte de visite format, 64 x 103 mm (mount); verso of mount imprinted ‘Paterson, 8 Bourke St. East, Melbourne’; both the print and mount are in fine condition.
The Paterson Brothers studio was located at 8 Bourke Street East from 1862-1873. Based on the fashion and hairstyles of the three women pictured, this group portrait was probably taken around 1870. It is likely that the photograph was commissioned by one of the wealthier Melbourne independent secular schools for boys. The twenty smartly-dressed boys are aged between around 11 and 14. The two standing at far left and far right are posing with cricket bats, and three stumps and a cricket ball are carefully arranged in front of the younger boys seated cross-legged in the front row. A rather strict-looking governess or tutor, probably in her 30s, stands at far left, and two younger female assistants – one probably only 18 or so – stand behind the boys at the centre of the portrait.

AND
Photographic portrait of pastoralist William Turner of Stoney Park, Moorwatha, southern New South Wales. Melbourne, 22 December 1859.
Albumen print from collodion wet-plate negative, 127 x 94 mm (arched format), laid down on its original board mount and housed within its original gilt frame, 200 x 240 mm; the verso of the frame still has the original backing paper substantially intact, including the studio’s printed label ‘Paterson Brothers, Photographic Artists, 82, Swanston Street, Melbourne’ and details in manuscript in ink recording the sitter’s name, William Turner, the date 22nd December 1859, and the studio’s negative number 1361; the print has great clarity and beautiful tones, and is in fine condition; there is some soiling on the underside of the glass at the lower margin, not affecting the image; [together with] a carte de visite portrait of William Turner taken in the Melbourne studio of Davies & Co. a little over seven years later, inscribed verso ‘William Turner, 13th Feby. 1867’; very good condition.
A very early Australian paper print from the Melbourne studio of Paterson Brothers. Dating to the end of 1859, it is only a year or so younger than Fauchery and Daintree’s celebrated series, Sun Pictures of Victoria.
The dashing sitter, identified as William Turner, is with little doubt the gentleman of that name who was a cousin of Alexander Sloane, of Mulwala and Savernake stations, southern New South Wales. William was a grazier who owned a property called Stoney Park near Moorwatha, situated between Mulwala and Albury on the New South Wales side of the Murray.
Provenance: Alexander Sloane, Mulwala and Savernake Stations, New South Wales; thence by descent.

Cearns W Gview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:

Six studio portraits of actors in costume. Castlemaine, Victorian goldfields, 1869-71.

Six albumen print photographs in carte de visite format, 102 x 64 mm (mounts), versos with the highly decorative imprint of ‘W. G. Cearns, Photographer, Mostyn Street (one door from Market Square), Castlemaine‘; one of the backs also bears a caption in ink which identifies the actor on the front as ‘John Brown’; three of the prints have some minor spotting, otherwise all are in fine condition, as are the mounts.
An intriguing suite of studio portraits, probably of actors in a travelling theatrical troupe. They were taken by a professional photographer working on the Victorian goldfields about whom precious little is known, but who, it seems, was a pioneer of spirit photography in the Australian colonies. Contemporary newspaper reports from 1869 (see below) would suggest that W. G. Cearns was among the earliest – and very possibly, was the first – practitioner of spirit photography in Australia. However, none of Cearns’ spirit photographs, produced while he was an assistant at Charles Wherrett’s Castlemaine studio in 1869, are known to be extant. The enigmatic Cearns is also highly obscure: he is not mentioned by Davies & Stanbury (Mechanical Eye), and we have not been able to trace any other photographs with Cearns’ own Castlemaine studio back mark in Australian collections.
We know that W. G. Cearns was active as a photographer in Hong Kong, in partnership with Wiebeking, in 1866 and possibly 1865. This partnership was officially dissolved on 24 September 1867.
A shipping notice in The Australasian, 28 September 1867, records that W. G. Cearns arrived at Hobson’s Bay, Melbourne on the barque Ino on 21 September, having embarked as a cabin passenger at Foo-chow-foo on 6 July.
An article in the Mount Alexander Mail, 15 September 1869, reports on Cearns’ spirit photographs, produced during his time as an assistant to the Castlemaine photographer, Charles Wherrett. Two days later, in the same newspaper, an even lengthier article appeared headed Spiritual Photographs at Castlemaine. The Melbourne newspaper, the Weekly Times, deemed the Mail story worthy of comment in an editorial a few days later, on 18 September 1869: ‘Spiritual photographs at Castlemaine, says the Mail, continue to attract the attention of our local savants. The operator (W. G. Cearns) by whom they are taken, has been narrowly watched, and the studio of Mr. Wherrett examined ; but, to the curious, the mystery of the process still remains unsolved.’
A short time later Cearns evidently left Wherrett, and we find him working under his own name, with a studio in the centre of Castlemaine. The following advertisement appeared in the Mount Alexander Mail, 13 January 1870: ‘Now open: Cearns’ New Portrait Rooms, Mostyn Street. One door from Market Square.’
Cearns continued to advertise in the Mail throughout January, February and March 1870.
On 29 August 1871 a funeral notice appeared in the same newspaper for a Private Cearns of the Volunteer Corps, who had played in a military band at Castlemaine. It is not clear whether this is W. G. Cearns, but we come across no further reference to Cearns the photographer in colonial newspapers after this time.


Early Buildings of Southern Tasmaniaview full entry
Reference: Early Buildings of Southern Tasmania, by E. Graeme Robertson.
Publishing details: Melbourne : Georgian House, 1970. Two volumes, quarto, cloth in illustrated dustjackets, illustrated endpapers, pp. [x]; 189; [vi]; 191 – 418, extensively illustrated,
Ref: 1000
architecture in Southern Tasmaniaview full entry
Reference: Early Buildings of Southern Tasmania, by E. Graeme Robertson.
Publishing details: Melbourne : Georgian House, 1970. Two volumes, quarto, cloth in illustrated dustjackets, illustrated endpapers, pp. [x]; 189; [vi]; 191 – 418, extensively illustrated,
Watson Johnview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Tinted vignette portrait of Mrs. Matcham wearing a summer bonnet decorated with flowers, Brisbane, January 1874.
Albumen print photograph with hand colouring, carte de visite format, 102 x 63 mm (mount), verso with imprint of ‘J. Watson, Photographic Artist. Queen Street, Brisbane’, and fully contemporary inscription in ink: ‘Mrs. Matcham, Jany. 10th 1874’; both the albumen print and mount are in fine condition.
A beautifully tinted portrait from the studio of early Brisbane photographer John Watson.
From DAAO: ‘John Watson, professional photographer, operated a photographic studio during the second half of 1855 in Edward Street, Brisbane, as a branch of Thomas Glaister ‘s Sydney firm. After disappearing from Queensland early the following year, he must have been the Watson in partnership with James Walker at Sydney in 1860-62. In 1862 John Watson returned to Brisbane, there to run a busy Queen Street studio in his own name until 1875. Watson’s Queensland Album of Photographic Scenery (John Oxley Library) was published in 1874.’
Read More
See Also
Mathewson & Coview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:

Studio portrait of a female domestic servant, Brisbane, circa 1880.
Albumen print photograph, carte de visite format, 105 x 63 mm (mount), verso with imprint of ‘Mathewson & Co.. Artist Photographers. Brisbane’; both the print and mount are in very good condition.
A scarce early Brisbane “occupational” photographic portrait, taken in the studio of Mathewson & Co. (note the painted backdrop).
Scottish-born Thomas Mathewson was orphaned shortly after his family arrived at Moreton Bay in 1853; he was taught photography by Rev. Theophilus Beazeley in Ipswich, and started a career as a professional photographer in Toowoomba in 1861. After working in Gympie, Rockhampton, Charters Towers, Bowen and Townsville in the 1860s and early 1870s, he opened premises in Brisbane at the start of 1876. Later in that year, Thomas was joined in the business by his brother Peter, and the new partnership meant that the studio name was changed from Mathewson to Mathewson & Co.
Read More
See Also
Mathewson see Mathewson & Coview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:

Studio portrait of a female domestic servant, Brisbane, circa 1880.
Albumen print photograph, carte de visite format, 105 x 63 mm (mount), verso with imprint of ‘Mathewson & Co.. Artist Photographers. Brisbane’; both the print and mount are in very good condition.
A scarce early Brisbane “occupational” photographic portrait, taken in the studio of Mathewson & Co. (note the painted backdrop).
Scottish-born Thomas Mathewson was orphaned shortly after his family arrived at Moreton Bay in 1853; he was taught photography by Rev. Theophilus Beazeley in Ipswich, and started a career as a professional photographer in Toowoomba in 1861. After working in Gympie, Rockhampton, Charters Towers, Bowen and Townsville in the 1860s and early 1870s, he opened premises in Brisbane at the start of 1876. Later in that year, Thomas was joined in the business by his brother Peter, and the new partnership meant that the studio name was changed from Mathewson to Mathewson & Co.
Read More
See Also
STEWART & CO.view full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Tinted studio portrait of young lady in a blue dress. Melbourne, circa 1880.
Albumen print photograph with hand colouring, carte de visite format, 102 x 62 mm, verso with the gilt imprint of Stewart & Co., Photographers, Miniature & Portrait Painters, 217 & 219 Bourke St. East, Melbourne; both the albumen print and mount are in fine condition.
A superbly tinted portrait by Stewart & Co. (colourist unknown).
For the last two decades of the nineteenth century the firm of Stewart & Co. was one of the most well-known and successful photographic businesses in Melbourne. The Stewart & Co. studio occupied various premises at the ‘top end’ of Bourke Street during this time, always close to the heart of Melbourne’s theatre district. Between 1881 and 1889 – the studio’s heyday – its premises were at 217 and 219 Bourke Street. The firm specialized in catering to actors, singers and musicians – as well as to the public who wished to emulate these idols by being photographed in glamorous outfits with dramatic lighting and studio props which reflected refined tastes and an artistic aesthetic.

NEWLAND James Jview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Studio portrait of a prosperous gentleman, Melbourne, 1866.
Albumen print photograph, 101 x 61 mm (mount), verso imprinted ‘James J. Newland, Photographer, 70 Elizabeth Street, Melbourne’; a skilfully fixed print, unfaded and with beautiful tones, in fine condition; the mount is pristine.
Rare example of a carte de visite by the very short-lived Melbourne studio of James J. Newland. The studio was active only for a few months in 1866 immediately following Newland’s arrival in Port Phillip from Portsmouth. Within a year or so Newland had relocated to Sydney, where he died in March, 1867 at the age of just 35.
James J. Newland is not listed as a photographer in Davies & Stanbury (Mechanical Eye), and Trove locates only one other example of his carte de visite portraiture (SLV).
It is not clear whether he was related to the pioneer colonial daguerreotypist, James W. Newland, who was active in Australia two decades earlier.
On 20 January, 1866, the following notice appeared in The Argus:
‘WANTED, a respectable YOUTH, to be taught in the art of photography, and assist in a studio. Apply on Monday or Tuesday, between 11 and 1 o’clock, at James J. Newland’s, photographer, 70 Elizabeth street,’
Then, in the same newspaper, on 20 February, this advertisment was published:
‘NEW PHOTOGRAPHIC STUDIO, 70 Elizabeth street, Opposite the Age Office.-JAMES J. NEWLAND (of the firm of Messrs. Newland and Co., Portsmouth), in opening the above gallery, would wish to call particular attention to tho superiority of his photographs. Carte portraits, 12s. dozen.’
The advertisements continued throughout the month of March, 1866, but then we find no further mention of Newland in the press until the funeral notice for James J. Newland appeared in the Sydney Morning Herald on 29 March 1867: ‘FUNERAL.—The Friends of JAMES J. NEWLAND, Esq., deceased, are respectfully invited to attend his funeral ; to move from his late residence, Horbury-terrace, Macquarie-street North, THIS (Friday) AFTERNOON, at a quarter before 3 o’clock….’
This was most certainly the same James J. Newland, photographer, as the wording of his death notice that appeared the same day in the same newspaper confirms: ‘On the 28th instant, at 199, Macquarie-street, JAMES J. Newland, of Portsmouth, Hants, aged 35.’
 
NEWLAND James Wview full entry
Reference: see Douglas Stewart Fine Books, June, 2021:
Studio portrait of a prosperous gentleman, Melbourne, 1866.
Albumen print photograph, 101 x 61 mm (mount), verso imprinted ‘James J. Newland, Photographer, 70 Elizabeth Street, Melbourne’; a skilfully fixed print, unfaded and with beautiful tones, in fine condition; the mount is pristine.
Rare example of a carte de visite by the very short-lived Melbourne studio of James J. Newland. The studio was active only for a few months in 1866 immediately following Newland’s arrival in Port Phillip from Portsmouth. Within a year or so Newland had relocated to Sydney, where he died in March, 1867 at the age of just 35.
James J. Newland is not listed as a photographer in Davies & Stanbury (Mechanical Eye), and Trove locates only one other example of his carte de visite portraiture (SLV).
It is not clear whether he was related to the pioneer colonial daguerreotypist, James W. Newland, who was active in Australia two decades earlier.
On 20 January, 1866, the following notice appeared in The Argus:
‘WANTED, a respectable YOUTH, to be taught in the art of photography, and assist in a studio. Apply on Monday or Tuesday, between 11 and 1 o’clock, at James J. Newland’s, photographer, 70 Elizabeth street,’
Then, in the same newspaper, on 20 February, this advertisment was published:
‘NEW PHOTOGRAPHIC STUDIO, 70 Elizabeth street, Opposite the Age Office.-JAMES J. NEWLAND (of the firm of Messrs. Newland and Co., Portsmouth), in opening the above gallery, would wish to call particular attention to tho superiority of his photographs. Carte portraits, 12s. dozen.’
The advertisements continued throughout the month of March, 1866, but then we find no further mention of Newland in the press until the funeral notice for James J. Newland appeared in the Sydney Morning Herald on 29 March 1867: ‘FUNERAL.—The Friends of JAMES J. NEWLAND, Esq., deceased, are respectfully invited to attend his funeral ; to move from his late residence, Horbury-terrace, Macquarie-street North, THIS (Friday) AFTERNOON, at a quarter before 3 o’clock….’
This was most certainly the same James J. Newland, photographer, as the wording of his death notice that appeared the same day in the same newspaper confirms: ‘On the 28th instant, at 199, Macquarie-street, JAMES J. Newland, of Portsmouth, Hants, aged 35.’
 
Watson Judyview full entry
Reference: Judy Watson: Women of Brisbane
[’More than 180 women are included in this beautifully designed artist’s book and they include names you may know, like Oodgeroo Noonuccal (1920-1993), and many others that you may not know. These women’s names are part of one of Brisbane’s newest public artworks along Kingsford Smith Drive in Brisbane’s Hamilton, with Judy Watson’s suite of images sand-blasted and imprinted on signage into the walkway. Watson’s artwork is titled bandarra-gan chidna: strong woman track / track of strong women and was completed late in 2019. This new book arose out of the significant research undertaken by many people create the work, along with community consultation.’]
Publishing details: Museum of Brisbane, [2021] 
125 pages : illustrations
Ref: 1000
Australia Antipodean Storiesview full entry
Reference: Australia Antipodean Stories.
[’This volume accompanies the largest exhibition of contemporary art from Australia to be presented outside the continent. It's characterised by a surprising richness and variety, offering a combination of personal stories, languages, ethnic origins, religions and traditions. The artists belong to many Aboriginal cultures and First Nations and those that arrived from the Pacific, Europe, Asian countries and America.

Curated by Eugenio Viola, this project encompasses a broad constellation of cultural, political and social practices and perspectives, and takes into consideration different means of expression such as painting, performance, installation, sculpture, video, drawings and photography.

Artists: Vernon Ah Kee, Tony Albert, Khadim Ali, Brook Andrew, Richard Bell, Daniel Boyd, Maria Fernanda Cardoso, Barbara Cleveland, Destiny Deacon, Hayden Fowler, Marco Fusinato, Agatha Gothe-Snape, Julie Gough, Fiona Hall, Dale Harding, Nicholas Mangan, Angelica Mesiti, Archie Moore, Callum Morton, Tom Nicholson (with Greg Lehman), Jill Orr, Mike Parr, Patricia Piccinini, Stuart Ringholt, Khaled Sabsabi, Yhonnie Scarce, Soda Jerk, Dr Christian Thompson AO, James Tylor, Judy Watson, Jason Wing and Nyapanyapa Yunupingu.’]
Publishing details: PAC, Silvana Editoriale. Text in English and Italian. 312 pages
hardcover, colour illustrations
Ref: 1000
Yang Williamview full entry
Reference: William Yang: Seeing & Being Seen. [’This must-have publication for devotees of photography celebrates artist and performer William Yang’s invaluable contribution to Australian art and our rich traditions of storytelling.

Accompanying a QAGOMA exhibition of the same name, William Yang: Seeing and Being Seen explores five decades of the artist’s prolific practice. This is the first major survey exhibition and publication on Yang by a state gallery.

Featuring reproductions of over 200 photographs, it traces Yang’s career from his heady early days as a social photographer in the 1970s documenting Sydney’s queer scene through to some of his well-known series addressing family ties, sexual and cultural identity, and the Australian landscape. The publication also examines the artist’s deep connections to Queensland, including his mid-career explorations of growing up in the far north of the state.

Insightful essays delve into the public and private realms of the artist and complement Yang’s highly personal and engaging imagery. QAGOMA curator Rosie Hays provides an overview of the artist’s highly regarded career; writer and broadcaster Benjamin Law gives an account of his own experiences growing up as a gay, Chinese Australian; and Professor Susan Best discusses the artist’s engagement with shame — and his refusal to accept it — in both personal and public histories. In addition, the artist shares his own personal reflections on nature in his evocative text entitled ‘Ghost in the landscape’.’]
Publishing details: This limited edition version of 'William Yang: Seeing & Being Seen' is signed and numbered and contains a limited signed and numbered print of Golden Summer 1987/2016.
Limited to 50 copies
Ref: 1000
Art Starts Here: 40 Years of Metro Artsview full entry
Reference: Art Starts Here: 40 Years of Metro Arts.
[’Art Starts Here: 40 Years of Metro Arts
Metro Arts – an independent arts centre at the heart of Brisbane – is about to start a new chapter at its new home in West End. But this is just one of many changes this resilient organisation has made its own.

For 40 years, Metro Arts inhabited 109 Edward Street, a six-storey building built in 1889, which has served as warehouse for household goods, biscuits, hats, supplies during World War II and – later, government offices and, finally, Brisbane Community Arts Centre.

On the level that was once the Immigration Department, artists have created multilingual works. In the former drug squad HQ, ‘art’ has become indistinguishable from ‘party’. In the old Electoral Office, artists have voted again and again for their community – with their time, energy, resources and (when available) money. To be at 109 Edward Street wasn’t just to make art. It was to make mistakes, to mend and to make do.

No record can capture every moment – every coffee shared, every spark ignited, every alliance formed, every risk taken, every show rehearsed, exhibited or staged. But through the voices of over 40 Metro community members, Art Starts Here: 40 Years of Metro Arts charts the living history of Metro Arts, from its gutsy DIY beginnings to its bright future.’]
[’Metro Arts - an independent arts centre at the heart of Brisbane - is about to start a new chapter at its new home in West End. But this is just one of many changes this resilient organisation has made its own.For 40 years, Metro Arts inhabited 109 Edward Street, a six-storey building built in 1889, which has served as warehouse for household goods, biscuits, hats, supplies during World War II and - later, government offices and, finally, Brisbane Community Arts Centre.On the level that was once the Immigration Department, artists have created multilingual works. In the former drug squad HQ, 'art' has become indistinguishable from 'party'. In the old Electoral Office, artists have voted again and again for their community - with their time, energy, resources and (when available) money. To be at 109 Edward Street wasn't just to make art. It was to make mistakes, to mend and to make do.No record can capture every moment - every coffee shared, every spark ignited, every alliance formed, every risk taken, every show rehearsed, exhibited or staged. But through the voices of over 40 Metro community members, Art Starts Here: 40 Years of Metro Arts charts the living history of Metro Arts, from its gutsy DIY beginnings to its bright future.FEATURING CONTRIBUTIONS FROMWesley Enoch, Robert Hughes, Edwin Relf, Liz Burcham, Penny Everingham, Robert Kronk, Amy-Clare McCarthy, Gemma Smith, Josh Milani, Hannah Gartside & Autumn Royale, Nic Holas (Restaged Histories Project), Brian Lucas, Margi Brown Ash, Thom Browning (Imaginary Theatre), Younghee Park (Company Bad), Daniel Evans (The Good Room), Lafe Charlton & Roxanne McDonald, and Fraser Corfield. In addition, Meagan Streader and Vernon Ah Kee (among others) contribute their artwork.FEATURING INTERVIEWS WITH Sue Benner, The Hon Ian Callinan, Robby Nason, Stephen Nothling, Jess Murphy, Daniel McKewen, Robert Andrew, Elise Greig, Michael Futcher (Matrix Theatre), David Morton (Dead Puppets Society), Lisa Fa'alafi & Leah Shelton (Polytoxic), Nasim Khosravi (Baran Theatre), and many more.’]
Publishing details: West End, Queensland : Metro Arts, 2020 
171 pages : colour illustrations, colour portraits
Ref: 1000
Queensland Artview full entry
Reference: see Art Starts Here: 40 Years of Metro Arts.
[’Art Starts Here: 40 Years of Metro Arts
Metro Arts – an independent arts centre at the heart of Brisbane – is about to start a new chapter at its new home in West End. But this is just one of many changes this resilient organisation has made its own.

For 40 years, Metro Arts inhabited 109 Edward Street, a six-storey building built in 1889, which has served as warehouse for household goods, biscuits, hats, supplies during World War II and – later, government offices and, finally, Brisbane Community Arts Centre.

On the level that was once the Immigration Department, artists have created multilingual works. In the former drug squad HQ, ‘art’ has become indistinguishable from ‘party’. In the old Electoral Office, artists have voted again and again for their community – with their time, energy, resources and (when available) money. To be at 109 Edward Street wasn’t just to make art. It was to make mistakes, to mend and to make do.

No record can capture every moment – every coffee shared, every spark ignited, every alliance formed, every risk taken, every show rehearsed, exhibited or staged. But through the voices of over 40 Metro community members, Art Starts Here: 40 Years of Metro Arts charts the living history of Metro Arts, from its gutsy DIY beginnings to its bright future.’]
Publishing details: West End, Queensland : Metro Arts, 2020 
171 pages : colour illustrations, colour portraits
Brisbane art view full entry
Reference: see Art Starts Here: 40 Years of Metro Arts.
[’Art Starts Here: 40 Years of Metro Arts
Metro Arts – an independent arts centre at the heart of Brisbane – is about to start a new chapter at its new home in West End. But this is just one of many changes this resilient organisation has made its own.

For 40 years, Metro Arts inhabited 109 Edward Street, a six-storey building built in 1889, which has served as warehouse for household goods, biscuits, hats, supplies during World War II and – later, government offices and, finally, Brisbane Community Arts Centre.

On the level that was once the Immigration Department, artists have created multilingual works. In the former drug squad HQ, ‘art’ has become indistinguishable from ‘party’. In the old Electoral Office, artists have voted again and again for their community – with their time, energy, resources and (when available) money. To be at 109 Edward Street wasn’t just to make art. It was to make mistakes, to mend and to make do.

No record can capture every moment – every coffee shared, every spark ignited, every alliance formed, every risk taken, every show rehearsed, exhibited or staged. But through the voices of over 40 Metro community members, Art Starts Here: 40 Years of Metro Arts charts the living history of Metro Arts, from its gutsy DIY beginnings to its bright future.’]
Publishing details: West End, Queensland : Metro Arts, 2020 
171 pages : colour illustrations, colour portraits
Woodward Johnview full entry
Reference: BRISBANE, AUSTRALIA, by John Woodward.
3D representation of Brisbane CBD in the mid 1990s.
Publishing details: [Sydney]: 3 D City, 1995.
29.5cm x 14.5cm (folded). Folding colour card.
Ref: 1000
Turnbull Lesview full entry
Reference: Hysterical history of Australia / written by Eric Curry ; illustrated by Leslie Turnbull
Publishing details: Sydney : New Century Press, 1940 
259 p. : ill. 
Ref: 1000
Spurling Stephenview full entry
Reference: see Andrew Smith Gallery Photography Auctions LLC auction. Lot 3224, Wed, Jun 16, 2021. Details:
DESCRIPTION
S. SPURLING. Florence Nightingale and Lefroi Gold Mines, Bleaconsfield,Australia, c. 1880. 7x9.25" albumen print from wet plate negative. Printed c. 1880. Inscribed in pencil on print verso: Tasmanian Florence Nightingale and Lefroi Gold Mines, Bleaconsfield.

Stephen Spurling (1847-1924), photographer and part-time orchardist, was born in Hobart Town, Van Diemen's Land (now Tasmania).

Shortly after his marriage in 1873, Spurling and his wife moved to Launceston, in northern Tasmania, where he set up a photography business. His first studio was in St John Street, and in March 1878, he relocated to 83 Brisbane Street. In May 1897, he attempted to re-establish a branch in Hobart, at 88 Liverpool Street, but this venture proved unsuccessful. Nevertheless, the early twentieth century proved a period of expansion. In 1902, Spurling formed a partnership with his son, Stephen III, and they moved to a custom-built premises at 93 Brisbane Street, Launceston. During this period, the firm also employed two apprentices: Frederick Vaudry Robinson and, later, Myra Bessie Sargent. Both subsequently established their own studios. In addition, around 1908, Spurling and his son invested in orchards in the Tamar Valley.

Although Spurling specialized in portraiture, he also undertook some outdoor photography. In the late 1870s, he used a train carriage fitted out as a mobile darkroom, to develop his wet plate images immediately after exposure. However, the difficulties associated with processing photographs while the train was in motion, may have provided the incentive that led him, around 1879, to import what were reputably the first dry plates to be used in Australia.

Spurling was renowned for his technical proficiency and his innovations. He also pioneered some of the earliest instantaneous or action photographs in Tasmania and took flash photographs when such a procedure involved creating a minor explosion. He was the first photographer in Launceston to use electrical lighting in his studio, and often acted as a judge in photographic competitions held by the Northern Tasmanian Camera Club. He was active in promoting tourism, and for many years campaigned for copyright laws in Tasmania. The large number of apparently anonymous images (or images wrongly attributed to other photographers) that are actually Spurling originals bear testament to the problems ethical Tasmanian photographers encountered in claiming what was rightfully their own works in late nineteenth and early twentieth centuries.

Today Spurling's photographs are held in private collections, and the National Gallery of Australia, the National Gallery of Canada, the National Library of Australia, the Queen Victoria Museum and Art Gallery (Launceston) - which also holds a portrait of him - the State Library of New South Wales, the State Library of Tasmania (Launceston), the State Library of Victoria, the Tasmanian Archive and Heritage Office, and the University of Sydney.

Credit: https://oa.anu.edu.au/obituary/spurling-stephen-1580

Wallace Daniel view full entry
Reference: Are we there yet? exhibition at 105 Chapman Lane, Annandale, NSW Nov-December, 2006 (includes assemblages)

Publishing details: 105 Chapman Lane, Annandale, NSW Nov-December, 2006,
Ref: 140
Wilson Hadynview full entry
Reference: Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Fitzjames Michaelview full entry
Reference: Australian Galleries invite with 3 colour illustrations and catalogue listing 34 works and prices inserted. No biographical information.
Publishing details: Australian Galleries, Sydney, 2021, 6 pp
Ref: 43
Costi Perranview full entry
Reference: see CHISWICK AUCTIONS, London, 11 June, 2021:
PERRAN COSTI (AUSTRALIAN)
Chiswick Auctions
PERRAN COSTI (AUSTRALIAN) Skybox - Redfern Station signed, titled, and dated Perran Costi / 2011 (on the reverse) lightbox with glass / digit...
Estimate
200 - 400 GBP

PERRAN COSTI (AUSTRALIAN) Skybox - The Corner 2011 signed and dated Perran Costi / 2011 (on the reverse) lightbox with glass / digital prints...
Add to watchlist

Live
Opening price
180 GBP 
Estimate
300 - 500 GBP
Additional Fees 

Date: 11 Jun
Location: London

PERRAN COSTI (AUSTRALIAN)
Chiswick Auctions
PERRAN COSTI (AUSTRALIAN) Skybox - Redfern Station II 2011 titled and dated 2011 (on the reverse) lightbox with glass / digital print / woo...
Add to watchlist

Live
Opening price
180 GBP 
Estimate
300 - 500 GBP
Additional Fees 

Date: 11 Jun
Location: London

PERRAN COSTI (AUSTRALIAN)
Chiswick Auctions
PERRAN COSTI (AUSTRALIAN) Skybox - Flight 2010 signed, dated Perran Costi '10 (on the reverse) electrical lightbox with glass / digital print...
Add to watchlist

Live
Opening price
180 GBP 
Estimate
300 - 500 GBP
Additional Fees 

Date: 11 Jun
Location: London

PERRAN COSTI (AUSTRALIAN)
Chiswick Auctions
PERRAN COSTI (AUSTRALIAN) Skybox - dark 2011 signed and dated Perran Costi / 2011 (on the reverse) electrical lightbox with glass / digital...
Add to watchlist

Live
Opening price
180 GBP 
Estimate
400 - 600 GBP
Additional Fees 

Date: 11 Jun
Location: London

PERRAN COSTI (AUSTRALIAN)
Chiswick Auctions
PERRAN COSTI (AUSTRALIAN) Skybox - Jumbo 2011 signed and dated, Perran Costi / 2011 (on the reverse) lightbox with glass / digital print / wo...
Add to watchlist

Live
Opening price
180 GBP 
Estimate
300 - 500 GBP
Additional Fees 

Date: 11 Jun
Location: London

and 4 others.
Society for the Promotion of Fine Arts 1847 & 49view full entry
Reference: see Society for the Promotion of Fine Arts 1847 & 1849 and Fine Art Exhibition at the Mechanics School of Arts, Sydney 1857
Publishing details: photocopies box 3
Ref: 3
Art and Architectureview full entry
Reference: Art and Architecture - The Journal of the Institute of Architects of New South Wales. Each issue c.40pp plus c.24 pages of architectural advertisements. [To be indexed]
Publishing details: Syd. William Brooks. 1904 - 1906. Folio. Or. wrapps. col & b/w plates and b/w ills. in the text.
Ref: 1009
Gibson C Pearl illustratorview full entry
Reference: BAKER, William Jonathan. GOLDFISH IN AUSTRALIA. With a section on Tropical Fish. Illustrated by C. Pearl Gibson. A guide to keeping goldfish in Australia, from choosing your fish to deciding what type of tank or aquarium to get. With a chapter on choosing varieties of water plants & pond snails.
Publishing details: Syd. Grahame Book Company. 1947. 4to. Or.cl. 85pp. Binding slightly loose at ffe. b/w ills. Good copy. Second Edition, revised and enlarged.
Ref: 1000
AUSSIE-OSITIESview full entry
Reference: see LINDESAY, Vane. AUSSIE-OSITIES. A humorous examination of the emergence of a popular culture in Australia through buildings, home, hobbies & applied art in the years leading up to Federation.
Publishing details: Greenhouse Publ. 1988. 4to. Col.Ill.wrapps. 106pp. Col.& b/w ills. Fine. 1st ed.
Anzartview full entry
Reference: ANZART HOBART, 1983. A Survey. Supplement to Island Magazine 16, Spring 1983. [to be indexed]
Publishing details: Tasmania. Island Magazine 16, Spring 1983. 4to. Dec.wrapps. 41pp. b/w ills. Fine. 1st ed.
Ref: 1009
Aboriginal Paintings from Australiaview full entry
Reference: see Aboriginal Paintings from Australia by Charles P Mountford
Publishing details: Collins UNESCO, pb, octavo, 1964
Mechanics School of Arts Sydneyview full entry
Reference: ATKINS, J.D. THE SYDNEY MECHANICS’ SCHOOL OF ARTS. DIARY 1833-1845. [To be indexed?]
Publishing details: Syd. The School. 1981. Foolscap folio. Or.wrapps. 131pp. b/w ills.
Ref: 1009
Mechanics School of Arts Sydneyview full entry
Reference: The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Mechanics Institute and School of Art, Melbourne view full entry
Reference: see Australian Art & Artists to 1950 - a bibliography based on the holdings of the State Library of Victoria compiled by Elizabeth Hanks. [Australian artists and art subjects are listed alphabetically. Australian art catalogues and art books (and over 100 periodicals) in the SLV have been indexed].
Publishing details: Library Council of Victioria, 1982, pb, 397pp
Antipodean Manifestoview full entry
Reference: Antipodeans 4th – 15th Aug. 1959.
From Douglas Stewart Fine Books, June, 2021:

An original copy of one of the significant artist’s statements in Australian art, and group exhibitions of post-war Australian art, a great rarity. 
‘In February 1959 seven artists and one historian came together in Melbourne to defend the tradition of the image in art. The context for the formation of the Antipodean group, and its single exhibition, Antipodeans, at the Victorian Artists’ Society in August 1959, was the perception that abstract art was making advances with critics and audiences in Australia and abroad. The significance of the Antipodean group in Australian art history rests strongly with the strident challenge to abstract art contained in The Antipodean Manifesto, the essay which accompanied the exhibition’s catalogue of works, written by Bernard Smith and signed by the exhibiting artists. The Manifesto asserted that the art of ‘Tachistes, Action Painters, Geometric Abstractionists, [and] Abstract Expressionists’ was ‘not an art sufficient for our time … not an art for living men’.’ – National Gallery of Australia, Antipodeans Challenge and Response in Australian Art 1955 – 1965, 27 Nov 1999 – 5 March 2000, https://nga.gov.au/exhibitions/antipodeans/index.htm
The Antipodeans consisted of Charles Blackman, Arthur Boyd, David Boyd, John Brack, Bob Dickerson, John Perceval, Clifton Pugh and Bernard Smith. The catalogue includes 65 works by the painters and the text for the Antipodean Manifesto by Bernard Smith.
Provenance : the estate of the late Dora Toovey (1898 – 1986), Archibald finalist painter and wife of James R. Jackson




Publishing details: Melbourne : [The Antipodeans], 1959. Octavo, self-wrappers, pp. [8],
Ref: 1000
Oppen Margaret view full entry
Reference: Metropolis

Publishing details: Sydney : Ant Press, 2016. Folio (535 mm tall), printed cloth bound boards, pp. [14], each leaf consists of a folded sheet  of Zerkall wove paper printed with collography, with a translucent upper layer on Taiwanese kozo paper printed in woodcut, both layers with printed text from hand-cut rubber stamp letters.
Ref: 1000
Bowen Deanview full entry
Reference: Small portraits : ten etchings

Publishing details: Melbourne : the artist, 1999. Folding illustrated clamshell box, 260 mm tall, title sheet, one letterpress contents sheet, 10 coloured etchings, signed colophon sheet. Printed in an edition of 10 boxed sets in Roman numerals, the etchings were also issued individually in an edition of 25 copies numbered in Arabic numerals.
Ref: 1000
Australian Catholic University Art Collectionview full entry
Reference: ACU Art Collection: A new perspective, Caroline Field (editor and curator of the collection).
‘The Australian Catholic University is delighted to announce the publication of ACU Art Collection: A new perspective, comprising highlights from the university’s art collection revealed through essays by renowned art historians, religious commentators, curators, art writers and critical thinkers. This richly illustrated publication presents a range of artworks in diverse mediums, from early medieval sculpture, stained glass and textiles through to works in oil, acrylic, print, ceramics and, most recently, 21st Century glass. The international and Australian artists represented include Taddeo di Bartolo, Justin O’Brien, Arthur Boyd, Angelina Pwerle, Sally Gabori, Justin O’Brien, Conrad Martens, Pippin Drysdale and Helen Johnson.
It is anticipated that A new perspective will make a significant contribution to the appreciation of art whilst providing a greater awareness of the diversity of the ACU Art Collection. ACU Vice-Chancellor and President Professor Greg Craven AO, GCSG, notes:
Collecting, commissioning and displaying art is a central cultural function of all universities. But it is of particular importance to a Catholic university … [as] one of the chief means by which we see the reflected glory of God, through the genius and sensitivities of his creatures in his creation … Of course, not all art in a Catholic university will be on a specifically religious theme, and such is the case with our own university collection. But any art that inspires and excites can only draw us further into the mystery of what it is to be an intrinsically valuable creation of that greatest artist of all.
Historian Margaret Pont adds:
The importance of classifying and recording what had previously been a rather random collection of religious, historical and contemporary works cannot be overstated. This publication will allow visual access and documentation to students, artists, academics and the public.
A new perspective celebrates the development of the ACU Art Collection and, since inaugural curator Caroline Field joined the university in 2016, its exciting new direction. The entire collection has now been catalogued and is accessible via ACU’s Arts and Culture website, eHive Collection Management System and the Australian online database, Trove.
Contributors to A new perspective include John Fahey AC, GCSG, Professor Greg Craven AO, GCSG, Professor Zlatko Skrbis, Most Rev. Anthony Fisher OP, Professor Anne Dunlop, Dr Ursula Betka, Anne Marie Brody, Dr Felicity Harley, Associate Professor Alison Inglis, Simone Chetcuti, Fr Anthony Casamento CSMA, Dr Hilary Maddocks, Dr Louise Marshall, Dr Christine Nicholls, Damien Freeman, Alasdair Macintyre and Victoria Perin. Each of their essays focuses on one or two works of art and invites the reader to look more closely and gain a new perspective.’
Publishing details: Melbourne : Australian Catholic University (ACU), 2020. Quarto, illustrated boards, pp. 120, 66 colour illustrations.
Ref: 1009
ACU Art Collectionview full entry
Reference: see Australian Catholic University Art Collection: First impressions. Selected Indigenous works from the ACU Art Collection.
‘Highlights from the university collection are here elucidated by 33 Indigenous and non-Indigenous authors from various academic, visual arts and ACU backgrounds, each bringing their knowledge, experience and cultural perspective to bear. This richly illustrated publication presents remarkable works of art by established and emerging First Nations artists, spanning traditional bark and dot paintings as well as contemporary works in diverse media, such as acrylic, print, photographic, fibre and glass.
Artists include Angela Pwerle, George Milpurrurru, Michael Riley, Danie Mellor, and many others.’
Publishing details: Australian Catholic University (ACU), 2021. Quarto, illustrated boards, pp. 99, colour illustrations.
Twigg Anne view full entry
Reference: Our home by Anne Twigg
Publishing details: [Melbourne] : Anne Twigg [Stanmore, New South Wales] Ant Press, 2013. Limited edition of 20 copies signed by the artist. Oblong octavo (160 x 230 mm), bound in grey bookcloth with highly abstracted title in a light grey across spine and front and back boards; paste paper dustjacket; 106 unnumbered pages
Ref: 1000
Mechanics School of Arts Sydneyview full entry
Reference: The History of the Sydney School of Arts from its Foundation in 1833 to the 1880s - Thesis submitted to the School of General Studies Australian National University for the Degree of Master of Arts in History, 15th April 1967, by R. I. Johnson,
Publishing details: privately printed copy (copy available online).
Bourne George W R 1858-1910view full entry
Reference: see Elder Fine Art auction,
20th June, 2021, Lot 140
GEORGE W.R. BOURNE (1858-1910)


“The Marion Inglis”
Watercolour
39x66cm
Signed Lower Right, Dated Bourne 93 Pt. Adelaide

Frame Measurement: 73x100cm

Condition: Excellent condition, no foxing or discolouration, lovely condition, Original framing with some wear to corners and or edges but in good overall condition.
Estimate: $2,000-3,000

Prov: Private Collection, Adelaide

Three masted steel barque, 1,587 ton. Built 1886 A. McMillan and Son, Dumbarton. Owners: Rogers and Co., registered Glasgow, later Marion Inglis Ship Co. Ltd. Commander F. Ritchie
Records show that the Marion Inglis arrived in Port Adelaide from Hamburg on Sunday 19th November 1893 probably with German immigrants for settlement in SA.
Bourne’s finely drawn watercolours are typical of the professional ship portraitist who created works as portable souvenirs for ship’s crew, their families and the owners. With the sea so close to the experience of all Australians at this time – the ocean voyage that brought them or their recent family to the southern hemisphere – was a definite experience worthy of a valuable artistic souvenir.

AND

Lot 141
GEORGE W.R. BOURNE (1858-1910)


“The Hesperus”
Waterolour
43x67cm
Signed Lower Right, Dated 92 Port Adelaide

Frame Measurement: 73x95cm

Condition: Excellent condition, no foxing or discolouration, lovely condition, Original framing with some wear to corners and or edges but in good overall condition.
Estimate: $2,000-3,000

Prov: Private Collection, Adelaide

Iron hulled sailing ship. 1777 Ton. Built in 1873. Used as Oriental Line vessel, remained in the Adelaide trade almost without a break until sale in 1890 put her into the eastern coast trade as a trainee ship for cadets under “Lord Brassey’s Scheme”. In the Adelaide run was always a favourite passenger ship and although not noted for speed, was regarded as very comfortable and regular.
Moore Charles Henryview full entry
Reference: see Elder Fine Art auction,
20th June, 2021, Lot
Lot 142
CHARLES HENRY MOORE (Early 20th C South Australian Artist)


“Sailing Ship Bootle Under Full Sail” 
Pencil and Charcoal
37x47cm
Signed Lower Right

Frame Measurement: 59x69cm

Condition: Excellent condition, no foxing or concerns, lovely condition, original wooden frame in good clean overall condition for age.
Estimate: $800-1,200

Prov: Private Collection, Adelaide

Note: Moore, a lesser known artist of the period, worked for the Adelaide Steamship Co in Port Adelaide. He executed a number of sketches of ships at sea during the early 20th C. the SA Pt Adelaide Nautical Museum holds 16 of his works in their collection.
Bowers Mrview full entry
Reference: seeTHE HISTORY OF THE SYDNEY MECHANICS' SCHOOL OF TS FROM ITS FOUNDATION IN 1833 TO THE 1880'S - Thesis submitted to the School of General Studies Australian National University for the Degree of Master of Arts in History, 15th April 1967, by R.I.Johnson:
‘The Colonist of 6th September commented ‘in 1839 Mr. Bowers, and in 1841
Prout•s series was aimed at introducing painting as an activity, and
John Skinner Prout, lectured informatively on painting. Prout•s series was aimed at introducing painting as an activity, and
enlisting and encouraging amateurs.’
Prout Skinnerview full entry
Reference: seeTHE HISTORY OF THE SYDNEY MECHANICS' SCHOOL OF TS FROM ITS FOUNDATION IN 1833 TO THE 1880'S - Thesis submitted to the School of General Studies Australian National University for the Degree of Master of Arts in History, 15th April 1967, by R.I.Johnson:
‘The Colonist of 6th September commented ‘in 1839 Mr. Bowers, and in 1841
Prout•s series was aimed at introducing painting as an activity, and
John Skinner Prout, lectured informatively on painting. Prout•s series was aimed at introducing painting as an activity, and
enlisting and encouraging amateurs.’
Westall William Port Jackson engraving 1814view full entry
Reference: see Antipodean Books catalogue, June 2021:
Westall, William, A.R.A. F.L.S. Engraved by John Pye.
VIEW OF PORT JACKSON, TAKEN FROM THE SOUTH HEAD.
London: G. & W. Nicol, 1814. First edition. Print. The view of Sydney from Mathew Flinders' "A Voyage to Terra Australis". The panorama of Sydney Harbor is the backdrop for an intimate scene of an aboriginal man and woman sitting around a fire next to xanthorrea and banksia.

Published London Feb. 12, 1814, black & white copper engraved print, image size 23 x 16 cm on paper 31 x 23 cm, excellent condition. Flinders was the first to circumnavigate Australia and he is credited as giving Australia its name. His narrative has become scarce and the prints are rarely seen separately. From "A Voyage to Terra Australis; Undertaken for the Purpose of Completing the Discovery of That Vast Country, and Prosecuted in the Years 1801, 1802, and 1803, in His Majesty's Ship the Investigator". Trove 7746475; Ferguson 57; Findley ill. p.30; Flower p.75; Taylor p.226-231, ill. p. 230; Wantrup 138-144. Very good condition. Item #26486

Dumaresq Christiana Susan view full entry
Reference: see SLNSW catalogue:
At State Library of NSW
Summary
Comprises an album (approx. 20.0 x 27.0 x 2.0 cm) containing 11 pencil sketches and 9 watercolours, ca. 1830-1850, and 15 photographic prints by Matthew Fortescue Moresby, ca. 1856-1860 (mostly albumen, possibly some of prints are salt prints)

Title
Album of drawings and photographs, including watercolour views of St Heliers, Muswellbrook, N.S.W., ca. 1830-1860 / drawings chiefly by Christiana Susan Dumaresq and photographs attributed to Matthew Fortescue Moresby
Creator
Dumaresq, Christiana Susan, d. 1868
Published
ca. 1830-1860
Physical Description
Image
9 watercolours
11 drawings - pencil
15 photographs - mainly albumen
Terms of Use
Out of copyright Artist died before 1955
Please acknowledge: Mitchell Library, State Library of New South Wales
Australia at the Venice Biennaleview full entry
Reference: Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner. [to be indexed]
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.
Venice Biennaleview full entry
Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.
Biennale Venice view full entry
Reference: see Australia at the Venice Biennale - a century of contemporary art, by Kerry Gardner.
[’With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work illuminates the untold stories and origins of the most important event of the art world. Before the winds of World War I blew Europe apart, a rowdy and radical group of Australian artists would gather in the salons of Paris and London to embrace new ways of painting and seeing the world. By 1914 twelve of them had shown their works at the Venice International Exhibition, now known as the Venice Biennale. Bundled in with the British, Tom Roberts, Arthur Streeton and Thea Proctor were represented alongside legendary artists Corot, Rodin, Klimt and Renoir. Four decades later Australia sent its first official delegation of artists: Sidney Nolan, Russell Drysdale and William Dobell; the works of Rover Thomas, Howard Arkley, Patricia Piccinini and Shaun Gladwell continued the story of bold Australian art in Venice. With the support of the Australian art community, the Venice Biennale today remains an aspiration and career highlight for contemporary artists and Australia’s love affair with the exhibition thrives. Discover the untold stories of the world’s most important art event through one hundred years of Australian modern art.
Kerry Gardner is chair of Australia at the Venice Biennale and a documentary film maker with a passion for art history and museum practice. She was Deputy Chair of Heide Museum of Modern Art , and a Director of the Museum of Contemporary Art Australia. She also works as a global champion for gender equality with the Global Fund for Women. She was awarded an Order of Australia in 2018 for contributions to the culture, environment and equality sectors.’]
Publishing details: The Miegunyah Press, 2021. Quarto, laminated boards reproducing a painting by Howard Arkley, pp. 262, extensively illustrated.
Little W Aview full entry
Reference: Catalogue of the W.A. Little collection of valuable pictures including important oil paintings, water colour drawings and etchings by eminent English and continental artists. James R. Lawson Auctioneers: to be sold by auction at the gallery sale rooms 236 Castlereagh Street on Tuesday, 23rd November, 1926 at eleven o'clock a.m. precisely. Artists included: Conrad Martens, S Prout, Hans Heysen, Peter De Wint, Elioth Gruner, JJ Hilder, Arthur Streeton and more.

Publishing details: James R. Lawsons, 1926, Tipped in colour plates as well as black and white plates. Quarto size paperback. [Only two copies listed on Trove.]
Ref: 1009
Deix Gunther view full entry
Reference: see Sydney Rare Book Auctions
June 18, 2021, lot 455 and 456: A coloured bookplate etching. For James Kemsley and etched by Gunter Deix. Signed below the image by the artist and dated 1994. "Ex Libris Kemsley Thanks my Friend" and an etched bookplate Ex Libris Kemsley. Artist Gunter Deix.
Noyce Elisha view full entry
Reference: see Elisha Noyce, fl.1820-1840s, lithographer Collins Street – Town of Melbourne, Port Philip (sic), New South Wales, 1840 Chalk lithograph on buff paper Pictures Collection, State Library of Victoria, H18111
Gilbert George Alexander view full entry
Reference: see George Alexander Gilbert (attribution), 1815-1877, artist Residence of George Augustus Robinson at Prahran, 1843-1848 Oil on canvas State Library of New South Wales, ML 307
Bedwell Edward Parker view full entry
Reference: see NLA, PIC R3929 LOC 2121, Somerset Cape York, 1872 in The Biggest Estate on Earth by Bill Gammage p 98
Duterrau Benjaminview full entry
Reference: see A New Tapestry, Edited by Robert Nash, chapter 17, Duterrau: A few sprigs from the Duterrau and Perigal families, by Jean Wood.
Publishing details: Huguenot Society, 2015, pb, 408pp.
Colonial Kangaroo Hunt The view full entry
Reference: The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
New Tapestry Aview full entry
Reference: A New Tapestry, Edited by Robert Nash, [Chapter 17, Duterrau: A few sprigs from the Duterrau and Perigal families, by Jean Wood].
Publishing details: Huguenot Society, 2015, pb, 408pp.
Duterrau Benjaminview full entry
Reference: see The Family Duterrau by Jean Wood (referred to in A New Tapestry, Edited by Robert Nash, chapter 17, Duterrau: A few sprigs from the Duterrau and Perigal families, by Jean Wood).
Publishing details: Tami Editions, 2021
Lämmle Wolfgang view full entry
Reference: see Yves Siebers Auktionen, Stuttgart, Allemagne Germany, Friday 25 June, 2021, lot 1573:
Lämmle, Wolfgang Stuttgart-Bad Cannstatt 1941 - 2019 Australia, German artist. '' Herbst an der Schwäbischen Alb '', landscape view, signed lower right, verso by hand. and dated 1977, artist's stamp, oil / cardboard, HxW: 30/40 cm. Min. Color flaking at the edge of the picture. With frame.
Sutton D M (Dorothy?)view full entry
Reference: see Susanin's Auctions, Chicago, Illinois, USA, 24 June, 2021:
Lot 2566274 D.M. Sutton (Australian, 20th Century) Early Settlers. Oil on board, signed lower right and dated '71. Provenance: Leveson Street Gallery, North Melbourne 14" x 18" Frame: 20 1/4" x 24 1/4"
Meszaros Michael view full entry
Reference: se Ebay listing 17.6.21:
artisan crafted bronze relief sculpture of a mother and child masterfully created and signed by the renowned Australian artist Michael Meszaros in 1984.

This exquisite sculpture depicts a mother in a seated position, holding her young baby upon her raised knees. The mother looks adoringly at her child with a sense of wonder, as the infant raises its arm towards its mothers face. A wonderfully endearing scene which beautifully captures a warm and tender moment between mother and child.

The perfectly balanced scene is rendered in relief upon a rectangular shaped plaque. This piece has been realistically modelled with an exceptional attention to detail.

SIZE: This impressive piece measures approx 230mms in height by 125 mms in width.

WEIGHT: This substantial plaque weighs just over 1.3kgs unpackaged.

CONDITION: This exceptional example is presented in excellent condition with no breaks, losses or repairs. The bronze has developed a lovely warm mellow patina. This piece has been very well cared for and presents spectacularly.

MARKS: This piece is signed at dated with raised lettering reading "Michael Meszaros 1984" running vertically along the lower left handside of the front face of the plaque.

THE ARTIST: Michael Meszaros was born in 1945 into an artistic family as the son of the sculptor and medalist Andor Meszaros. During the 1960s Michael studied to become an architect, but in 1969 he was awarded a Churchill Fellowship to study medal-making in Italy at La Scuola Dell 'Art Della Medaglia, attached to Rome's main mint. On his return to Australia Michael became a full-time sculptor and medalist.

Michael has created large-scale public sculptures including the copper birds at 350 St. Kilda Road, the bronze portrait statue of John Pascoe Fawkner at 447 Collins Street and the memorial to Sam the Koala in Mirboo North, Gippsland.

Michael Meszaros medals are held by the British Museum, the Royal Dutch Coin Collection, and many private collections in Europe, America, Australia, New Zealand and the United Kingdom. In August 2011 he was awarded the American Numismatic Association's 'Numismatic Art Award for Excellence in Medallic Sculpture'. In 2012 he received an OAM in the Queen's Birthday Honours.
Lindsay Normanview full entry
Reference: Norman Lindsay Centenary Exhibition February 17th 1979 to March 19th 1979. Includes a short foreword about the artist and a list of artworks, watercolours, oils and pen and pencil.
Publishing details: Published by Bloomfield, Gallery, 1979. A scarce exhibition catalogue not listed on Trove. Octavo size.
Ref: 1000
Weynton Alexander b1827view full entry
Reference: see Ewbanks auction, UK, 17 Jun 2021, lot 1332: Alexander Weynton (British, 1827-c1860). A set of six watercolours of ships by master mariner and watercolourist Alexander Weynton. who whilst serving as Second Mate on the Windsor circa 1850 began a series of journals recording his voyages, including nine to Australia, illustrated with his delightful watercolours. Each watercolour is signed and with notes either written on to the margins or is painted on the back of a page of the ship's log. The East India Ship Windsor is painted on the title page of the ships log book of a voyage from London to Madras and Calcutta 1850-1852, 'The East India Ship Windsor, WB Bryce Commander 1850, on the voyage from London, to Madras and Calcutta, Feb 1850 inscribed verso by Alexander Weynton, 2nd mate 'for his own amusement'.One of the watercolours depicts a ship sailing against a dark sky has a page of script verso dated 1850, recording details from 4 days voyaging in May of that year.See images for detailed front and back of watercolours and ship's logs. 
See The National Library of Australia online who hold a small collection some of similar works which were shown in their exhibition Travellers Art (2003). https://nla.gov.au/nla.obj-234455886/
Each watercolour approx. 15cm x 24cm, stuck on ships log or with notes to margins (6) 
FURTHER BACKGROUND INFORMATION These are thought to be missing pages with water-colours from the 1850-52 ships log of master mariner Alexander Weynton an early figure in Australian history which have been discovered on the back of pages from the log. when Ewbank's were removing them from their frames to check their condition the pages from the log were discovered, along with marginalia on the mounts. 
Alexander Weynton (British, 1827-c.1861) served as Second Mate on the Windsor during a voyage to Madras and Calcutta from England and thence to Australia, completing a series of journals recording the voyages from 1841-1860, including nine to Australia, all illustrated with his highly accomplished watercolours. Each watercolour is signed and with notes either written on to the margins or is painted on the back of a page of the ships log. 
Weynton succeeded to his first command in September 1858, by which time he had completed a total of 16 voyages, eight of them on the colonial run between London and Port Phillip (Victoria) or Sydney. 
While aboard the Windsoren route to Sydney, he began two journals, one for jotted observations of daily life on board ship, the other a retrospective record of his earlier voyages. The pages here appear to come from the first of these journals. 
Although his knowledge of the Australian colonies was not extensive, Weynton’s contribution to Australian history is seen as significant because his watercolours provide some of the earliest known documents recording the coastline, buildings and other features of original settlements. His logs and paintings also record firsthand experiences of the migration process. 
The six views, including one of the entrance to Port Jackson in Sydney Harbour, with the ship in full sail, are of exceptional quality and also show the ship in perilous storm-tossed waters surrounded by sea birds, as well as becalmed under glowering skies with, in one view, a shark swimming just below the surface. Yet another shows the Windsor setting sail off Beachy Head. 
The lot also includes the frontispiece of the log book, giving details of the 1850-52 voyage under the command of W.B. Pryce Alexander, and the fact that as Second Mate, Weynton was keeping the log for his own amusement. 
The page is annotated in later ink: Alexander Fletcher Sargant with live from his sister Gertrude Sargant Dec 1941. The Sargant’s were a Surrey family hailing from Banstead. 
The Weynton archive is a fascinating and detailed source of social and historical importance not only to the early development of modern-day Australia, but also to our understanding of what life was like for those aboard ship in those pioneering sea-faring days of adventure and uncertainty as migrants crossed the continents in search of a new life. 
This amazing find fills an important gap in the extensive Weynton holdings of the National Library of Australia and adds to our appreciation of his talents as an artist and diarist. 
PROVENANCE These water-colours are consigned by a collector who acquired them from a local family in the course of his work in Surrey. 
This is one of two exceptional lots with links to Australian history that are in this sale, the other being lot 1370 a John Glover sketch book, Both featuring outstanding artistic talents and opening a window on modern Australia’s early days. 

Popular Pet Show The view full entry
Reference: see The Popular Pet Book. Includes extensive biographical information on the artists. Catalogue of [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by contemporary artists Nicholas Harding, Lucy Culliton, Darren McDonald, Anna Culliton, Fiona McMonagle, Ken Done, Noel McKenna, Graeme Drendel, Robyn Sweaney, Kristin Headlam, Shen Jiawei, Jude Rae, William Robinson, Janet Dawson and Davida Allen. Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Lik Peterview full entry
Reference: 25th Anniversary Big Book of Photography by Master Photographer Peter Lik (Australian, b.1959)
The artist is a self-taught pioneer in the field of landscape photography and his name is synonymous some of the most beautiful photographs of waterfalls, mountains, and desert canyons. The book, circa 2010, features a compilation of the photographer's first twenty-five years of work across well over 500 pages, is hand-signed in gold, leather bound, and housed in a linen clamshell presentation box. Measures approximately 15.5" x 4.25" x 21.5" in case.

Publishing details: limited edition of 7500, signed
Ref: 1000
Wilson Gregview full entry
Reference: see BAMFORDS AUCTIONEERS & VALUERS, UK, 24.6.21, lot 12: Greg Wilson, The Guardian of the Bush, signed, oil on linen, 122cm x 152cm. Greg Wilson is an internationally renowned Australian artist who has been awarded with an OAM (order of Australia medal) for his work in Arts. He was commissioned to paint a portrait of Nelson Mandela as a gift to him on the occasion of his 90th birthday
Steele Louis Johnview full entry
Reference: see CHISWICK AUCTIONS, UK, 9.7.21, lot 112: Louis John Steele (British b. England 1842-d. New Zealand 1918)
A Collection of Thirteen Sketches of Landscapes and Portraits and a Sketchbook
Many inscribed with the address and date: Rue Quincampoix - Paris 1867
five black chalk, two pen and ink, two watercolour and three pencil,
various sizes

All unframed (14)


Louis Steele was educated in Reigate and at the École nationale supérieure des beaux-arts in Paris. In his 20’s he went to Florence to further his studies in painting. In 1870-71 he returned to Paris during the siege. He exhibited at the Salon in Paris and the Exposition international de Lille. On his return to England he exhibited paintings at the Royal Academy in 1872 and 1875 and etchings from 1881-1886. Critics wrote of his the ‘mossy touch’ and exceptional richness of tone of his engravings, some of which were published by Tooth’s gallery and in the Portfolio and the Art Journal.

In 1886 he left England and went to live in Auckland, New Zealand in search of health. He set up a studio in the Victoria Arcade in Auckland where he taught life drawing and the antique. He returned to painting and took great interest in the Maori, recording their activities in several fine paintings. His large history paintings were sometimes painted jointly with another artist. He collaborated with his former pupil Charles F. Goldie in ‘The arrival of the Maori in New Zealand’ 1898. ‘The last stand of Captain Starlight’ which he collaborated on with Kennett Watkins was toured around Australia. He made an important contribution to the art life of Auckland introducing his skills as an engraver and leaving many notable portraits and history paintings. His works are represented in the National Art Gallery, the Hocken Library and the Auckland City Art Gallery.
Dillon Cyrilview full entry
Reference: see Broward auction, US, 8.8.2021, lot 482: ARTIST: Cyril Dillon (Australian, 1883 - 1974)
NAME: Sail Ship Neotsfield
MEDIUM: oil on canvas. Canvas applied to board.
CONDITION: Some paint losses mostly along edges. No visible inpaint under UV light.
SIGHT SIZE: 26 x 35 inches / 66 x 88 cm
FRAME SIZE: unframed
SIGNATURE: lower right
CATEGORY: antique vintage painting
AD: ART CONSIGNMENTS WANTED. CONTACT US
SKU#: 118740
US Shipping $120 + insurance.

BIOGRAPHY:
Born in Melbourne in 1883, Cyril Dillon was well known as an etcher. He made etchings of Coombe Cottage for Dame Nellie Melba and sets of etchings for Melbourne public schools, as well as painting watercolour and oil scenes. He was vice- president of the Australian Painters Etchers Society for 10 years. He died in 1974.
bookplatesview full entry
Reference: see The West Australian, Sat 7 Jan 1928,
AUSTRALIAN BOOKPLATES.
RECENT ADVANCES.
One of the recent movements in art
which is beginning to attract more atten-
tion is the production of Australian book-
plates. It received an impetus in 1923,
when the Australian Ex Libris Society
was founded in Sydney by the Hon. John
Lane Mullins, who possesses the largest
collection of Australian bookplates in
the Commonnwealth. Since then, art-
ists in all the States have designed plates.
The annual illustrated brochure
just issued by the society contains re-
productions of designs by several Sydney
artists, one by John C. Goodchild, of
Adelaide; one by G. Pitt Morison, of
Perth; and another by R. A. Clive Ho-
bart. During the year Mr. Morison has
made three wood-cut designs for book-
plates— one for his wife, one for his
niece, and another for Archbishop Riley.
Bookplates are sometimes confused
with the illustrations which are occasion-
ally referred to as plates. The literal
meaning of ex libris, I need hardly men-
tion, is "out of the books" or rather,
out of the library, a bookplate being a
mark of ownership, which serves as a
reminder that borrowed books should
be returned. But the main value of a
plate is, that it stimulates the book
lover's pride in his possessions.
Owner and Artist.
"A bookplate," said Mr. Mullins, on
one occasion, "should express the ideals
or pursuits of its owner; but at the same
time, the artist, in achieving this purpose,
should be allowed to give an expression
of himself in his style. It should be
worthy of the literature within the
covers which it protects and it should
be in harmony with the binding. A good
design is essential and it should be drawn
by a capable artist. It may be repro-
duced by a zinc block, which is very eco-
nomical, or a wood engraving, which is
more costly but worth the difference, or
by an etching, which gives beauty and
value for any outlay." The bookplate is
one of the few forms of art wherein the
owner can indicate the subject of the
composition, at the same time it gives
the artist considerable scope for design.
One of the greatest exponents in Eng-
land was the late C. W. Sherborn, and
within its range there is nothing finer
than the engravings of C. W.Eve, who
specialises in heraldic work. In Austra-
lia Norman Lindsay, Lionel Lindsay, F.
H. Souter and Adrian Feint may be re-
garded as the best designers.
Armorial Plates.
Some of the early citizens of Austra-
lia used their coats of arms for the design
for their bookplates. There are about
a thousand of these armorial plates in
Mr. Mullins's collection, which includes
one originally belonging to Ellis Bent,
Judge Advocate, who arrived in Sydney
in 1809. Most of the armorial plates were
done in England, only a few being made
in Sydney. The armorial device for Sir
Arthur Nicholson, the first Australian
baronet, was engraved by Raphael Clint,
who did 13 other plates in the forties.
He was the son of George Clint, the fam-
ous "painter of players," many of whose
portraits adorn the walls of the Garrick
Club, London. A few plates were also
engraved by John Carmichael, another
early artist. The pictorial plates in
Australia date from 1892, when Percy
F. S. Spence made a drawing of a library
interior as the subject of a bookplate
for Mr. Mullins. This was the first by
an Australian born artist. The only
book on Australian bookplates is the
small volume "Ex Libris." by J. S. C.
Elkington, published in 1900, which con-
tains several designs by Norman Lind-
say. A work on a more comprehensive
scale is due for publication shortly. This
is an historical review of Australian
bookplates by Mr. Mullins, who has been
preparing the book for some time.
Gallery Collections.
Since the Australian Ex Libris Society
has been established, collections have
been formed for two galleries. Mr. Mul-
lins and Mr. P. Neville Barnett have each
presented a collection to the National
Gallery, Sydney. Mr. R. H. Croll, of
the Education Department, Melbourne, is
forming one collection for the Public
Library, Melbourne, and another for the
Commonwealth National library, Can-
berra; and Mr. G. Pitt Morison has se-
cured the interesting collection in the
Perth Gallery. Mr. P. Neville Barnett,
Challis-avenue, Turramurra, Sydney, who
is the hon. secretary of the Australian
Ex libris Society, will be glad to hear
from anyone desiring any information
regarding the work of the society.
Clint Alfredview full entry
Reference: see Windsor and Richmond Gazette 
Fri 23 Nov 1923, Page 6:
ALFRED CLINT.
Death, has removed from our midst a man
of genius, and one of the most notable
painters in the State. Mr. Alfred Clint
passed away oh Tuesday last, at the age of
81 years. About 18 months ago he came to
Windsor with his son, Mr. Alfred T. Clint,
who is also famous in and around Sydney
for his fine paintings, and the son pur-
chased a residence in Fitzgerald-street.
Here they have resided ever since. The
Iate Mr. Clint was a man of rare talent,
and like all true artists, he was a man of
simple habits and refined tastes. Since
coming to Windsor he has put on canvas
many lovely Hawkesbury scenes. He wan-
dered about the district with brush and pa-
lette, and, true artist that he was, he saw
all that was beautiful in nature, and was
able to give a realistic conception of it
with his deft brush and trained artistic
mind. He has done some of the finest
scenic work in the Sydney theatres, and
his glorious landscapes will keep his mem-
ory green for many years to come. He was
truly a gifted man, and his genius and tal-
ent have been inherited in a large degree
by some of his children. A native of Ken-
sington, England, the late Mr. Clint came
to this country about 60 years ago. During
that time he has been before the public as
a painter, and one whose work had a ready
sale. His family are:—Mrs. Frank Fox,
who with her husband is now in London.
Mr. Fox is a very able journalist, and was
editor of "The Lone Hand," a bright and
clever magazine issued from "The Bul-
letin" office some years ago; Mr. Alfred T.
Clint, of Fitzgerald-street, Windsor, who,
as we have said, is a painter, of high repute;
Mrs. Ethel Dale, of Sydney; Mr. George
Edward Clint, of Sydney, also a painter of
renown; Miss Beatrice Clint, of Sydney;
Mrs. Dorothy Robinson, of Wentworthville;
Mr. Sydney Raphael Clint, of Blacktown, a
very clever black and white artist. The
late Mr. Clint had not been in robust health
for the past 25 years. But he possessed a
recuperative constitution and always man-
aged to pull through. Though he had
reached the great age of 81 years, his death
was a great shock to his family, who were
deeply attached to him. The remains were
laid to rest in the Church of England ceme-
tery, Rookwood, on Wednesday, beside
those of his wife.

printing in Australiaview full entry
Reference: see Northern Argus (Clare, SA : 1869 - 1954) View title info 
Thu 5 Apr 1945, Page 8
EARLIEST NEWSPAPER.
This, Australia's earliest newspaper
entitled "The Sydney Gazette and
New South Wales Advertiser," first
appeared March 5th, 1803. and last-
ed till October 20th, 1842. The
old wooden press used by Howe un-
fortunately no longer exists, but its
work was invaluable in those early
days.
Lithography in Australia dates
from about the year 1821, for, on
or shortly after his arrival in Sydney
in that year, Sir Thomas Brisbane,
Governor Macquarie's successor, set
up two lithographic presses at the
Parramatta Observatory for the use
of Mr. Rumker, the Government
Astronomer. They are described as
the invention of Mr. Morrison and "of
an inproved construction."
After Governor Brisbane's depart-
ure in 1825 one of these presses was
transferred in 1828 to the care of the
Surveyor-General, Sir Thomas
Mitchell, who probably used it for the
printing of his maps. The other press
was given by the Governor to a Mr.
Dunlop, a member of the Observatory
Staff at Parramatta, who in turn
sold it to the distinguished artist,
Mr Augustus Earle, who in 1826,
prior to his departure to New Zea-
land, printed on it a series of three
fine-coloured lithographs, entitled
"Views of Australia," which are much
sought after to-day.
The next Lithographer in Aus-
tralia of whom we have a definite
record is J. G. Austin, whose busi-
ness address is given as Bridge Street,
Svdnev. There, from 1834 onwards
he printed a large series of litho-
graphed drawings, including Rodius's
"Portraits of Aborogines" (1834),
Rodius's "Landsdowne Bridge"
(1836), and Fernyhough's "Profiles
of the Aborigines" (1836).
Next came William Baker, an Eng-
lishman, who arrived in Sydnev in
1835 and began printing at 101 King
Street. He advertised in "The Aus-
tralian" of that year that he would
"execute any commands for litho-
graphic and copperplate printing."
Amongst the specimens of his work
which have survived are many col-
oured maps and an atlas.
In 1838, Raphael Clint, of George
Street, a surveyor and engraver, had
assigned to him a convict litho-
grapher, so he, too, must be included
amongst the earliest of our colour
printers. Next came Prout and Co.,
who issued their "Views of Sydney"
in 1842 and in 1847 their "Views of
Melbourne."
S. T. Gill and J. G. Ham were pro-
ducing lithographic work in Adelaide
as early as 1840. It is also of inter-
est to note that most of the early
sheet music, often with a pictorial
cover, printed in Australia, was
reproduced by the lithographic pro-
cess.
For many years the work, which
was done on hand presses, was a,
very-laborious process. Gradually
the hand-work gave way to power
machines, and now Australian litho-
graphic reproduction will bear com-
parison with any in the world.
THE FIRST VICTORIAN GOVT.
ORDER.
When Lieutenant-Governor David
Collins arrived in 1803 at Sorrento,
Victoria, then called Port Phillip, he.
had With him a small hand-press
which he set up under a gum-tree on
the beach. In this "office" on 16th.
October was printed the first gov-
ernment order, a series of general
and garrison orders succeeding it
from time to time. Though there
were three printer-convicts in Col-
lins the name of only one
Robert Walsh, has survived. The
first newspaper, the "Melbourne
Advertiser, " was issued by John
Fawkner in March, 1838, numbers 1
to 9 being hand-written, number 10
printed.
HAND PRINTING SET.
When Lieutenant-Governor Collins
transferred. the settlement from Port
Phillip to Hobart, Tasmania, he took
with him his small hand-printing set,
and on 20th. February, 1804, issued
a single printed sheet— "a general
order"— fixing the price of pork and
other comestibles. This is the first
record of the craft in Tasmania. In
1810 Andrew Bent, the most famous
of Tasmanian printers, issued the
"Derwent Star." earliest of Hobart
newspapers.
FIRST PRINTING IN W,A.
The first printing press introduced
into Western Australia (a "Ruth-
ven') was imported by a printer
named Weavell in 1831. This little
hand-press was set up at Fremantle,
and hired by C. Macfaull and W. K.
Shenton, who, on 25th April, 1831,
published the first issue of the
earliest West Australian newspaper,
"The Fremantle Observer, Perth
Gazette, and Western Australian
Journal." The old press may still be
seen at the Perth Museum.
PRINTING IN SOUTH AUSTRALIA
The history of Printing in South
Australia dates from the proclama-
tion of the province in 1836. The
first press, a demy Stanhope of an-
tiquated type, was brought from Eng-
land by Robert Thomas and George
Stevenson. At Glenelg, in a rush
hut, on 11th. January, 1837. was
printed Governor Hindmarsh's Pro-
clamation founding the new colony
(the first sheet of printing struck off
in South Australia.) Robert Thomas
issued the first newspaper, the
"Adelaide Register," on 3rd June,
1837.
PRINTING IN QUEENSLAND.
In Quensland, the first printing
press was erected in June, 1846,
Arthur Sydney Lyon and James
Swan on the 20th of that month
using a small press to print the
"Moreton Bay Courier," a newspaper
which still exists as the well-known
PRINTING IN NEW ZEALAND.
Printing in our sister Dominion of
New Zealand had its origin, like that
of so many of the Pacific Islands, in
the missionary press. Of the first.
book published, the Catechism in
Maori, by the Rev. W. Yate, only two
copies survive. It was printed at
Kerikeri, a tiny brochure of six
pages, numbered in small Roman, the
first two pages being unnumbered
and blank. The date was August,
1830 The most- important of the
early New Zealand printers, however,
was William Colenso, who, on 17th
February, 1835, pulled the first
proofs of what he thought was the
first, but what was really the second,
book printed in New Zealand— part
of the Rev. W. William's translation
of the New Testament in Maori. The
first New Zealand newspaper was the
"New Zealand Gazette and Brit-
annia Spectator," printed on the
beach of Petone, 18th April, 1840.
(To be Continued.)

lithography in Australiaview full entry
Reference: see Northern Argus (Clare, SA : 1869 - 1954), Thu 5 Apr 1945, Page 8
EARLIEST NEWSPAPER.
This, Australia's earliest newspaper
entitled "The Sydney Gazette and
New South Wales Advertiser," first
appeared March 5th, 1803. and last-
ed till October 20th, 1842. The
old wooden press used by Howe un-
fortunately no longer exists, but its
work was invaluable in those early
days.
Lithography in Australia dates
from about the year 1821, for, on
or shortly after his arrival in Sydney
in that year, Sir Thomas Brisbane,
Governor Macquarie's successor, set
up two lithographic presses at the
Parramatta Observatory for the use
of Mr. Rumker, the Government
Astronomer. They are described as
the invention of Mr. Morrison and "of
an inproved construction."
After Governor Brisbane's depart-
ure in 1825 one of these presses was
transferred in 1828 to the care of the
Surveyor-General, Sir Thomas
Mitchell, who probably used it for the
printing of his maps. The other press
was given by the Governor to a Mr.
Dunlop, a member of the Observatory
Staff at Parramatta, who in turn
sold it to the distinguished artist,
Mr Augustus Earle, who in 1826,
prior to his departure to New Zea-
land, printed on it a series of three
fine-coloured lithographs, entitled
"Views of Australia," which are much
sought after to-day.
The next Lithographer in Aus-
tralia of whom we have a definite
record is J. G. Austin, whose busi-
ness address is given as Bridge Street,
Svdnev. There, from 1834 onwards
he printed a large series of litho-
graphed drawings, including Rodius's
"Portraits of Aborogines" (1834),
Rodius's "Landsdowne Bridge"
(1836), and Fernyhough's "Profiles
of the Aborigines" (1836).
Next came William Baker, an Eng-
lishman, who arrived in Sydnev in
1835 and began printing at 101 King
Street. He advertised in "The Aus-
tralian" of that year that he would
"execute any commands for litho-
graphic and copperplate printing."
Amongst the specimens of his work
which have survived are many col-
oured maps and an atlas.
In 1838, Raphael Clint, of George
Street, a surveyor and engraver, had
assigned to him a convict litho-
grapher, so he, too, must be included
amongst the earliest of our colour
printers. Next came Prout and Co.,
who issued their "Views of Sydney"
in 1842 and in 1847 their "Views of
Melbourne."
S. T. Gill and J. G. Ham were pro-
ducing lithographic work in Adelaide
as early as 1840. It is also of inter-
est to note that most of the early
sheet music, often with a pictorial
cover, printed in Australia, was
reproduced by the lithographic pro-
cess.
For many years the work, which
was done on hand presses, was a,
very-laborious process. Gradually
the hand-work gave way to power
machines, and now Australian litho-
graphic reproduction will bear com-
parison with any in the world.
THE FIRST VICTORIAN GOVT.
ORDER.
When Lieutenant-Governor David
Collins arrived in 1803 at Sorrento,
Victoria, then called Port Phillip, he.
had With him a small hand-press
which he set up under a gum-tree on
the beach. In this "office" on 16th.
October was printed the first gov-
ernment order, a series of general
and garrison orders succeeding it
from time to time. Though there
were three printer-convicts in Col-
lins the name of only one
Robert Walsh, has survived. The
first newspaper, the "Melbourne
Advertiser, " was issued by John
Fawkner in March, 1838, numbers 1
to 9 being hand-written, number 10
printed.
HAND PRINTING SET.
When Lieutenant-Governor Collins
transferred. the settlement from Port
Phillip to Hobart, Tasmania, he took
with him his small hand-printing set,
and on 20th. February, 1804, issued
a single printed sheet— "a general
order"— fixing the price of pork and
other comestibles. This is the first
record of the craft in Tasmania. In
1810 Andrew Bent, the most famous
of Tasmanian printers, issued the
"Derwent Star." earliest of Hobart
newspapers.
FIRST PRINTING IN W,A.
The first printing press introduced
into Western Australia (a "Ruth-
ven') was imported by a printer
named Weavell in 1831. This little
hand-press was set up at Fremantle,
and hired by C. Macfaull and W. K.
Shenton, who, on 25th April, 1831,
published the first issue of the
earliest West Australian newspaper,
"The Fremantle Observer, Perth
Gazette, and Western Australian
Journal." The old press may still be
seen at the Perth Museum.
PRINTING IN SOUTH AUSTRALIA
The history of Printing in South
Australia dates from the proclama-
tion of the province in 1836. The
first press, a demy Stanhope of an-
tiquated type, was brought from Eng-
land by Robert Thomas and George
Stevenson. At Glenelg, in a rush
hut, on 11th. January, 1837. was
printed Governor Hindmarsh's Pro-
clamation founding the new colony
(the first sheet of printing struck off
in South Australia.) Robert Thomas
issued the first newspaper, the
"Adelaide Register," on 3rd June,
1837.
PRINTING IN QUEENSLAND.
In Quensland, the first printing
press was erected in June, 1846,
Arthur Sydney Lyon and James
Swan on the 20th of that month
using a small press to print the
"Moreton Bay Courier," a newspaper
which still exists as the well-known
PRINTING IN NEW ZEALAND.
Printing in our sister Dominion of
New Zealand had its origin, like that
of so many of the Pacific Islands, in
the missionary press. Of the first.
book published, the Catechism in
Maori, by the Rev. W. Yate, only two
copies survive. It was printed at
Kerikeri, a tiny brochure of six
pages, numbered in small Roman, the
first two pages being unnumbered
and blank. The date was August,
1830 The most- important of the
early New Zealand printers, however,
was William Colenso, who, on 17th
February, 1835, pulled the first
proofs of what he thought was the
first, but what was really the second,
book printed in New Zealand— part
of the Rev. W. William's translation
of the New Testament in Maori. The
first New Zealand newspaper was the
"New Zealand Gazette and Brit-
annia Spectator," printed on the
beach of Petone, 18th April, 1840.
(To be Continued.)

Society for the Promotion of the Fine Arts in Australia exh catalogue 1847, 1849, 1857view full entry
Reference: The State Library of NSW catalogue has: Exhibition of the Society for the promotion of the Fine Arts in Australia. Society for the Promotion of the Fine Arts in Australia.
Publishing details: Sydney : Printed by Kemp and Fairfax, 1847-1857. 1847-1857 MRB/706/S , 706/S , FM4/9612 [ie there are 3 catalogues, 1847, 1849, and 1857.
10 Works in Focus - Paintings from the Collection, State Library of New South Wales - Vol 2, 2019view full entry
Reference: 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Ref: 140
Lewin John William Red Kangaroos 1819view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Glover John Corrobory c1835view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Gritten Henry Hobart Town 1857view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Russell John Peter portrait of Jean Sandro Russellview full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Watkins John Samuel portrait Mrs Holman 1917view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Streeton Arthur panoramic view of Sydney 1894view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Badham Herbert Al Fresco 1927view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Harvey Edmund Arthur portrait of Margaret Coen 1932view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Coen Margaret portrait of by Edmund Arthur Harveyview full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Grieve Alan Fairy Bower 1956view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Bokor John Collection Day 2011view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Bokor John Collection Day 2011view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 2, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall. Inclused essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Norfolk Island house c1800view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Fowles Joseph - Stephen Butts in Macquarie Streetview full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Collingridge Arthur oil 1881 The Atlas Worksview full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Roberts Tom portrait of Maria Little c1895view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Maclellan Cecelia or Celia - Anthony Horderns fire c1901view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Daplyn Alfred James - the boating season view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Baker Normand - Sydney Public Library 1931view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Veal Hayward portrait of Rod Quinn 1941view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Quinn Rod portrait of by Hayward Veal 1941view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Edwards Mary portrait of Millicent Preston-Stanley 1950view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Sweaney Robyn neighbourhood watch 2009view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
10 Works in Focus - Paintings from the Collection, State Library of New South Wales - Vol 4, 2021view full entry
Reference: 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Ref: 140
10 Works in Focus - Paintings from the Collection, State Library of New South Wales - Vol 3, 2019view full entry
Reference: 10 Works in Focus - Paintings from the Collection, Volume 3, State Library of New South Wales - 2019. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2019, pb, 38pp
Ref: 140
Beechey Frederick William Bounty Bay c1825view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Roper Edward - Ararat c1858view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Greig EdwardJukes - Burke and Wills 1862view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Tischbauer Alfred - George Street Sydney 1883view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Praed Emily portrait of Rosa Praed 1884view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Muskett Alice Cumberland Street c1902view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Badham Herbert - Oxford Street interior 1942view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Badham Herbert - Oxford Street interior 1942view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Badham Herbert - Cudal near Orange 1943view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Wakelin Roland the Rocks 1952view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Digby Desmond portrait of Patrick White 1965view full entry
Reference: see 10 Works in Focus - Paintings from the Collection, Volume 4, State Library of New South Wales - 2021. A free exhibition at the State Library of NSW from 6 October 2018. Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews. Includes essays on 10 works. [’This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.
The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell.
www.sl.nsw.gov.au/galleries
Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.’]
Publishing details: State Library of New South Wales, 2021, pb, 38pp
Martens Conrad with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Atkinson Louisa with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Read Richard view full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Lemberg Hanna and Rudolf with biographiesview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Owen Gladys with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Lambert George and Thea Proctorview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Proctor Thea and George Lambertview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
King Jane with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Jarrett Dora with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Colville George with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Rodway Florence with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Hinder Frank with some biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Hinder Margel with some biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Eustace Alfred William with biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Linday Norman with brief biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Outhwaite Ida Rentoul with brief biographyview full entry
Reference: see Fake Truths - An Historical Novel, paintings & stories by Hadyn Wilson.
[’20 March to 13 June
2021
 
In 2019 I was artist-in-residence at the State Library of NSW.  I looked into their collection of artworks which were stored away from public viewing and their ‘realia’ collection of objects and researched the history behind them.  The result is this exhibition at the State Library called ‘Fake truths An historical novel’.  Most of it turned out to be true, but where there were gaps I completed the stories with fake letters, books, texts and connections that are credible but also imaginative, and creative.  I am thankful to the State Library for allowing their collection to be used in this way.  The overarching theme that I didn’t need to fabricate was the inherent humanity and empathy I found in these mainly forgotten subjects, artists, and their stories.
 
Exhibition Statement
 
The works displayed in this presentation are interpretations of paintings and drawings I found in the State Library archives.  They are coupled with objects from the Library’s ‘realia’, of which there are over 3000 examples.
Each painting and the accompanying objects and letters tell a story which acknowledges and is respectful of the history these images represent but also extends these narratives in order to give voice to the protagonists involved, whether they are the subjects within the pictures or the artist who have painted them.
The paintings I’ve referenced from the racks were not based on merit or importance but were fairly arbitrarily chosen for their mystery and sometimes their humility.  Many were damaged or unfinished or light sensitive and for that reason have been rarely seen in public.  Some of the artists who painted them are anonymous or less well know but their works are nevertheless intriguing as are many of the subjects they painted.  Many of the works have little or no known provenance, which in this context was an advantage.
The histories, where they are known, were fascinating enough and the ‘additions’ mainly in the form of letters, adhere to the known facts but attempt to give a personal and sympathetic voice to those histories.  The accompanying ‘realia’ have been conscripted to extend that narrative and are fascinating objects in their own right.
Australian author and historical novelist Geraldine Brooke said:
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding and then letting imagination build the structure that fills in those things we can never find out for sure.
In this exhibition, I have tried to bring various relational elements together in order to imagine our way through those inevitable historical gaps.  There will always be a certain unknowingness with the past. a silent truth, and it’s within this realm that we can conjure the imaginative response.
Hadyn Wilson, 2021’]
Publishing details: State Library of NSW, 2021
Liley Thomas lithographerview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
LILEY, Thomas (fl.1840-1847) — Sydney
Lithographer & printer. Produced J. Armstrong, Plan of eligible allotments at Balmain adjoining Mr Blakes property fronting the main street and extending to Johnston’s Bay ca. 1840; Charles E. Langley, Plan of Smithfield Market, town of Prospect ca.1840; Robert Dixon, This map of Moreton Bay compiled from authentic surveys 1842; Village of Livingstone at the Little Forest to be sold by auction 1842; Edward James Howes Knapp, Plan of the Piperston suburban allotments near Sydney 1842 — with Thomas Bluett. Also produced music, etc.
Liley was probably the man of that name born 1 Jun 1802 and baptised at St. George Hanover Square, London, 26 Dec 1815 — the son of Thomas Liley, a coachman, and Mary his wife. He was working as a labourer in November 1826, when at the age of twenty-four he was charged with deserting his wife and subsequently served six months in a house of correction for bigamy — having married Eliza Matthews and Maria Hast(e) just eight days apart on 25th July and 3rd August of that year. He was tried for larceny at the Old Bailey aged twenty-seven 16 Sep 1830. Despite a robust defence claiming that he was the innocent victim of an attempt to defraud his employer’s creditors, he was found guilty and sentenced to transportation for seven years. After a number of months on the prison hulk Retribution at Woolwich, he left England on 20 Jul 1831 and arrived in Hobart as a convict on the Lord Lyndoch 18 Nov 1831. In March 1834 he was charged with the misappropriation of Government paper and “his labour in Government time”, and was ordered the tread-wheel for seven days. He was granted his ticket-of-leave 7 Jun 1837. On 11 Aug 1843 he was sued for libelling the artist John Skinner Prout (1805-1876) and served three months in prison on the evidence of Prout himself, Thomas Bluett and a man called Thomas Hughes. Liley’s neighbour in Brougham Place, the engraver Hugh Carruthers (1802-1862), appeared on Liley’s behalf, as did Joseph Pettingell. He married Bridget Madden at St. Philip, Sydney, 10 Oct 1844. Liley’s estate was sequestrated for debt in April 1845 — his assets stated after the exclusion of bad and doubtful debts at under £10. An application for discharge from bankruptcy in August 1845 was opposed by a baker who claimed that Liley had concealed and made away with a press which should have been forfeited, but a Certificate of Discharge was granted 3 Sep 1845. In October 1846 he appeared on a list of subscribers for the building of St. Benedict’s church. He has not been further traced beyond 1847, although he and his wife were perhaps the Mr & Mrs Liley who left the colony for New Zealand in July 1848.
13 Brougham Place, Pitt Street, Sydney — 1842
1 Phillip Street, Sydney — 1845-1847
BNA. NLA. Niedorf. OB. Tooley. Trove.


Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
BLUETT (BLEWETT), Thomas (1819?-1846) — Wellington, Sydney & Hobartview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BLUETT (BLEWETT), Thomas (1819?-1846) — Wellington, Sydney & Hobart
Lithographer. Produced Robert Park, Plan of Wades Town adjoining the city of Wellington, New Zealand, the property of Messrs. Watt & Wade, laid out in building lots 1841; Plan of the city of Wellington, Port Nicholson, New Zealand 1841; Edward Main Chaffers, Chart of Port Nicholson New Zealand 1841 — all with Jacob William Jones. For later work in partnership with Thomas Liley, see Liley. Also produced views, music, portraits, etc.
Said to have been born in Bath, in or about 1819, although other sources record him as Irish. He married Mary (Maria) Langley 4 Dec 1836 at St. Mary Lambeth in London. Worked for the well-known London firm of “Day & Haghe” before emigrating at the age of twenty-one — at first to New Zealand, sailing steerage from Gravesend on the Olympus 9 Dec 1840 with his wife and two small children, arriving at Port Nicholson 20 Apr 1841. Adam and Catherine Bluett, probably his father and stepmother, were also on board, as was a cabin passenger in W. Jones, who may probably be identified with Jacob William Jones. The local press was quick to notice and approve: “We are happy to find that a lithographer has arrived here in the Olympus, and that we shall now be able to publish charts of the harbour, of Cooks Straits, and plans of the town at a very moderate charge. A chart of the harbour has long been wanted for general distribution; and some means should be taken to get them on board of the numerous whalers on the coast. We hear that the Captain of the American whaler states that many of his countrymen would resort to this port if acquainted with it, which they will not be, unless steps are taken to circulate the necessary information” (New Zealand Gazette, 1 May 1841). By June 1841 plans of the port, lithographed by Bluett and Jones, were available — “a considerable number were purchased by a subscription, with a view to circulating them gratis. Already a large number has been forwarded to Akaroa and other places, with instructions to put them on board of whaling and other vessels not acquainted with our port” (New Zealand Gazette, 12 Jun 1841). A plan of Wade’s Town was already completed and one of Wellington imminent — and by 16 July 1841 plans of Wellington were available in three sizes. In November of that year Jones issued a warning against giving credit to Bluett on the basis of a partnership he claimed had never formally existed and Bluett moved on to Sydney to take up work with Raphael Clint, who announced him as “an artist from Day and Hague’s establishment [sic — William Day & Louis Haghe] under which facilities will be afforded for the economical conduct of business of which no house out of London but this can offer” (Sydney Herald, 28 Dec 1841). The arrangement only lasted a few weeks and after another short-lived arrangement with Thomas Liley, Bluett moved on to Hobart, advertising “Lithographic drawings, maps, plans, music, circulars, cards, bill-heads, &c., executed in the neatest manner and on reasonable terms. N.B. — Artists supplied with prepared stones, chalks, ink, and every article required in the trade” (Austral-Asiatic Review, 29 Sep 1843). By 11 Feb 1844 Thomas and Mary Bluett were back in Sydney, arriving on the Louisa, but were once more in Hobart in April of that year. They then migrated to Hong Kong, where in 1845, Mary claimed that Thomas had fled to Calcutta to escape his creditors, leaving her and the children destitute, compelling her to return to England on what became a nightmare voyage on the Tory. She subsequently became a key witness at the trial of the ship’s captain, George Johnstone, who had murdered three of his crew on the voyage but was subsequently found not guilty by reason of insanity. Bluett had also returned to London and was working for “Graf & Soret” [Charles Graf and James Lewis Soret] when on 25 April 1846 he was accidentally shot in the ribs on Drury Lane by a boy showing off with a loaded pistol. He died of gangrene on 11 May 1846 aged twenty-seven and was buried at St. Giles in the Fields 17 May 1846 (for names in bold see BME 2011).
50 St. Clements Lane, Strand, London — 1840
Wellington Terrace, Wellington — 1841
Brougham Terrace, Sydney — 1842-1843
28 Liverpool Street, Hobart — 1843-1844
18 White Horse Court, Drury Lane, London — 1845-1846
BNA. DAAO. NLA. NLNZ. Niedorf. OB. Trove.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
BLEWETT or BLUETT Thomas (1819?-1846) — Wellington, Sydney & Hobartview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BLUETT (BLEWETT), Thomas (1819?-1846) — Wellington, Sydney & Hobart
Lithographer. Produced Robert Park, Plan of Wades Town adjoining the city of Wellington, New Zealand, the property of Messrs. Watt & Wade, laid out in building lots 1841; Plan of the city of Wellington, Port Nicholson, New Zealand 1841; Edward Main Chaffers, Chart of Port Nicholson New Zealand 1841 — all with Jacob William Jones. For later work in partnership with Thomas Liley, see Liley. Also produced views, music, portraits, etc.
Said to have been born in Bath, in or about 1819, although other sources record him as Irish. He married Mary (Maria) Langley 4 Dec 1836 at St. Mary Lambeth in London. Worked for the well-known London firm of “Day & Haghe” before emigrating at the age of twenty-one — at first to New Zealand, sailing steerage from Gravesend on the Olympus 9 Dec 1840 with his wife and two small children, arriving at Port Nicholson 20 Apr 1841. Adam and Catherine Bluett, probably his father and stepmother, were also on board, as was a cabin passenger in W. Jones, who may probably be identified with Jacob William Jones. The local press was quick to notice and approve: “We are happy to find that a lithographer has arrived here in the Olympus, and that we shall now be able to publish charts of the harbour, of Cooks Straits, and plans of the town at a very moderate charge. A chart of the harbour has long been wanted for general distribution; and some means should be taken to get them on board of the numerous whalers on the coast. We hear that the Captain of the American whaler states that many of his countrymen would resort to this port if acquainted with it, which they will not be, unless steps are taken to circulate the necessary information” (New Zealand Gazette, 1 May 1841). By June 1841 plans of the port, lithographed by Bluett and Jones, were available — “a considerable number were purchased by a subscription, with a view to circulating them gratis. Already a large number has been forwarded to Akaroa and other places, with instructions to put them on board of whaling and other vessels not acquainted with our port” (New Zealand Gazette, 12 Jun 1841). A plan of Wade’s Town was already completed and one of Wellington imminent — and by 16 July 1841 plans of Wellington were available in three sizes. In November of that year Jones issued a warning against giving credit to Bluett on the basis of a partnership he claimed had never formally existed and Bluett moved on to Sydney to take up work with Raphael Clint, who announced him as “an artist from Day and Hague’s establishment [sic — William Day & Louis Haghe] under which facilities will be afforded for the economical conduct of business of which no house out of London but this can offer” (Sydney Herald, 28 Dec 1841). The arrangement only lasted a few weeks and after another short-lived arrangement with Thomas Liley, Bluett moved on to Hobart, advertising “Lithographic drawings, maps, plans, music, circulars, cards, bill-heads, &c., executed in the neatest manner and on reasonable terms. N.B. — Artists supplied with prepared stones, chalks, ink, and every article required in the trade” (Austral-Asiatic Review, 29 Sep 1843). By 11 Feb 1844 Thomas and Mary Bluett were back in Sydney, arriving on the Louisa, but were once more in Hobart in April of that year. They then migrated to Hong Kong, where in 1845, Mary claimed that Thomas had fled to Calcutta to escape his creditors, leaving her and the children destitute, compelling her to return to England on what became a nightmare voyage on the Tory. She subsequently became a key witness at the trial of the ship’s captain, George Johnstone, who had murdered three of his crew on the voyage but was subsequently found not guilty by reason of insanity. Bluett had also returned to London and was working for “Graf & Soret” [Charles Graf and James Lewis Soret] when on 25 April 1846 he was accidentally shot in the ribs on Drury Lane by a boy showing off with a loaded pistol. He died of gangrene on 11 May 1846 aged twenty-seven and was buried at St. Giles in the Fields 17 May 1846 (for names in bold see BME 2011).
50 St. Clements Lane, Strand, London — 1840
Wellington Terrace, Wellington — 1841
Brougham Terrace, Sydney — 1842-1843
28 Liverpool Street, Hobart — 1843-1844
18 White Horse Court, Drury Lane, London — 1845-1846
BNA. DAAO. NLA. NLNZ. Niedorf. OB. Trove.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Dowie Johnview full entry
Reference: see Twelth Australiana Virtual Show and Tell Report June 2021:
10. Australian sculptor in action
C 1960. Colour photograph of SA Artist John Dowie creating what appears to be a larger-than-life- sized clay bust of the sitter, Tim Langdon, at Jay Creek Mission NT.

John Stuart Dowie (1915-2008) is best known for his sculptures but is also widely known as an
artist. One of four children, he was born in Prospect, Adelaide in South Australia, and from the age of two,
lived the rest of his life in the family home in Dulwich in Adelaide.
During WWII Dowie worked in the Military History Unit of the Australian Imperial Forces, as an assistant to Australia's official war sculptor Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the “Three Rivers” fountain in Victoria Square, “Alice” Rymill Park, the “Victor Richardson Gates” Adelaide Oval and the “Sir Ross & Sir Keith Smith Memorial” at Adelaide Airport. He was nominated for Senior Australian of the Year in 2005, and was made a Member of
the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter.
The sitter, TimLangdon, a Warlpiri man from Yenmundu (Yuendumu), was also known as Kunmanalda and Japananka. His great grandson, Jamie Hampton, is the indigenous officer of the South Australian State Library and is keen to learn of the location of the sculpture.
Editor comments
A summary of our investigation is printed below. We have not been able to locate the Tim Langdon sculpture by John Dowie and would welcome information from members. If anyone is aware of its whereabouts, please contact the Secretary
Publishing details: https://www.australiana.org.au/resources/Virtual%20Show%20and%20Tell%2012%20-%20June%202021.pdf
Power to Move - Aspects of Australian Photography Theview full entry
Reference: The Power to Move - Aspects of Australian Photography, by Anne Kirker and Clare Williamson. Illustrated, includes photographers’ statements. Catalogue of an exhibition held at the Queensland Art Gallery, Brisbane, 17th February - 8th April, 1996.
Publishing details: Brisbane: Queensland Art Gallery, 1995. 80 pages, illustrations, some colour. Pictorial french fold wrappers.
photographyview full entry
Reference: see POWER TO MOVE: ASPECTS OF AUSTRALIAN PHOTOGRAPHY, Anne Kirker; Clare Williamson,
Publishing details: Brisbane: Queensland Art Gallery, 1995.
First Edition.
25.5cm x 21cm. 80 pages, illustrations, some colour. Pictorial french fold wrappers.
BARK ART FROM WESTERN ARNHEM LANDview full entry
Reference: BARK ART FROM WESTERN ARNHEM LAND: KUNWINJKU DOLOBBO BIM: BARK PAINTINGS FROM INJALAK - THE DIOCESAN COLLECTION, by Peter John Carroll. A record of Kunwinjku bark art from the 1960s and 1970s held in the Diocesan Collection, together with essays on the subject, and stories in language with English translations.
Publishing details: Darwin: Northern Territory Anglican Foundation, 2010.
First Edition.
30cm x 21cm. vi, 54 pages, colour illustrations. Illustrated wrappers.

Ref: 1000
Aboriginal artview full entry
Reference: BARK ART FROM WESTERN ARNHEM LAND: KUNWINJKU DOLOBBO BIM: BARK PAINTINGS FROM INJALAK - THE DIOCESAN COLLECTION, by Peter John Carroll. A record of Kunwinjku bark art from the 1960s and 1970s held in the Diocesan Collection, together with essays on the subject, and stories in language with English translations.
Publishing details: Darwin: Northern Territory Anglican Foundation, 2010.
First Edition.
30cm x 21cm. vi, 54 pages, colour illustrations. Illustrated wrappers.

Young Blamireview full entry
Reference: A BOHEMIAN NIGHT by Blamire Young; Jonathan Watkins.
Theatre program for a production of Blamire Young's Schoolboy Confidences, June 22, 1984, at the City Art Institute. Directed by Jackie Carrol, Sara Farmer, Liesel Seehofer, and Leanne Springer. Produced by Jonathan Watkins with this copy inscribed by him to the front flyleaf. Contains illustration extracts from The Bulletin, poetry and illustration by Yvonne Freeman, a portrait of Blamire Young with biography by Sara Farmer, portraits of the cast, Ben Jorgensen, Robert Jones, Martine Walne, and David Paull, the text of Schoolboy Confidences, photographs of the production, excerpts on bohemia by W. C. Morrow and L. E. Fredman, an extract from The Sydney Morning Herald on the disappearance of Steven Dunstan, and illustration extracts from The Lone Hand (1907). Cover illustration by Percy Lindsay. Includes bibliography. Rare, unrecorded in Trove.


Publishing details: [Sydney]: [Jonathan Watkins, City Art Institute], 1984.
First Edition. Inscribed by Editor
23cm x 16.5cm. [24] pages, black and white illustrations. Illustrated saddle- stapled wrappers.
Ref: 1000
Wicks Arthurview full entry
Reference: TRANSFORMER - FIELDS OF CHANGE
Arthur Wicks - Catalogue for a travelling exhibition, 1989-90.
Publishing details: Albury: Albury Art Centre, 1989.
First Edition.
21cm x 15cm. 48 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Wicks Arthurview full entry
Reference: BERLIN NOTIZEN UND ANDERES: ARTHUR WICKS 1983
Arthur Wicks
Catalogue of photographs, poems, performance, and text produced during Wicks residency at Kunstlerhaus Bethanien, Berlin.
Publishing details: Berlin: Kunstlerhaus Bethanien und Arthur Wicks, 1984.
First Edition.
21cm x 15cm. 64 pages, illustrations, some colour. Illustrated wrappers.
Cat
Ref: 1000
Wicks Arthurview full entry
Reference: Arthur Wicks - Works 1989-92. Catalogue of photographs, poems, performance, and text from three works by Australian artist Arthur Wicks (1937-), being: Last Work, Peace Car Through Europe, and Machina:Persona.
Publishing details: Wagga Wagga: City Art Gallery, 1992.
First Edition.
24cm x 16.5cm. 48 pages, illustrations, some colour. Illustrated saddle-stapled wrappers.
Bungareeview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992
view full entry
Reference: Ebay listing 25.6.21: Unframed Original INK & WASH Portrait on Paper, by Australian Listed Artist JOHN H TAYLOR, (1921 - 2012).  It is signed lower right, and was Painted around 1970.  

It is titled "PORTRAIT OF THE ARTIST'S WIFE EMME". It is Brighter than the photo shows, and on Grey Paper.
It is Unframed, and has come from a folio of Sketch work by the Artist. A confident artwork.
TAYLOR, John H; (born 1921, died 2012). Painter and Printmaker, studies: Footscray Technical College, 1939, Melbourne Technical College, 1945-46 George Bell 1950, Chelsea Polytechnic, London 1951-52 study tours to Holland, Belgium, France, Spain, Portugal, Italy, France and Mexico 1952-1991. Awards: Albany 1962, 1968 Eltham, 1999 Lorne Represented: National Gallery of Victoria, National Gallery of Australia, Tokyo University, Australian Embassy Tokyo Japan, Private Collections in England, Japan, throughout Australia and USA, Bibliography: Directory of Australian Printmakers 1976, 1982, 1988, McCulloch, Germaine, James Mollison.
Excellent Condition, on paper, and measures, 9 inch by 11 1/2 inch, (22.8cm x 29.3cm). (Image size). 
Campbell Henry 1777 - 1854view full entry
Reference: draughtsman, mentioned in Aboriginal life around Port Jackson after 1822
by Keith Vincent Smith, 2011, in Dictionary of Sydney website
Publishing details: https://dictionaryofsydney.org/entry/aboriginal_life_around_port_jackson_after_1822
Fernyhough William Henry 3 refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Austin J G 1 refsand illusview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Austin J G 1 refs and illusview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Carmichael John 2 refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Earle Augustus numerous refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Rodius Charles numerous refs and illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Benett Leon engravingview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Lejeune Jules ink drawing 1824view full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Wilson Ambrose 1829 attributed or Rodius? ref and illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Mason Edward c1850s attributed illusview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Petit Nicolas-Martin 2 refs and illusview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Mikhailov Pavel Nikolayevich various refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Fridrits Ivan Pavlovich lithographs after Mikhailov Pavel Nikolayevich refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
King Phillip Parker various refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Westall William refs and illustrationsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Watling Thomas refs and illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Neele S I engraving by illustratedview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Grant James 1801 illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Lesueur Charles Alexander illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
de Sainson Louis illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Bradley William 1788 3 refs and illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Hunter John various refs and illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Wallis James illustration and 3 refsview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Preston William illustrationview full entry
Reference: see King Bungaree - a Sydney Aborigine meets the great South Pacific explorers, 1799-1830, by Keith Vincent Smith. Includes bibliographical references (p. [183]-187) and indexes.
Publishing details: Kangaroo Press 1992, hc, dw, 192pp
Samuels Cyril view full entry
Reference: see Ebay listing 27.6.2021: Cyril Samuels - Australian Cartoon Artist. An Original 1946 Cartoon Menu Card for Cahills Restaurant, Sydney, NSW. Superb characterisation and topographical detail, about 15 x 10 inches open. Laid in 'Suggestions' menu shown in separate photograph dated 12 June 1946
Makigawa Akio view full entry
Reference: The solo-exhibition of pioneering Japanese/Australian sculptor, Akio Makigawa, continues in Melbourne at Smith & Singer. 
Born in Japan in 1948, Akio Makigawa left Karatsu, the city of his birth, in 1974, settling in Perth shortly after.  Regarded as one of the great voices of Australian sculpture, the present exhibition of Makigawa's work contains some of his most definitive forms, and is a celebration of the artist’s legacy.  It has been created in unison with, and with the creative blessing of, the artist’s widow and internationally acclaimed artist Carlier Makigawa.  On show in Melbourne for a further three weeks, we warmly invite visitors to explore the exhibition for themselves.
AKIO MAKIGAWA will be open from 28 June to 16 July, 10 am – 5 pm, Monday to Friday, at 14-16 Collins Street, Melbourne. 
Publishing details: Smith & Singer, 2021, (catalogue details to be entered)
Ref: 1000
de Chair Enidview full entry
Reference: see WARRINGTON & NORTHWICH AUCTION, UK, 26.6.21 lot Lot 509 LADY ENID DE CHAIR (Australian, 1878-1965), oil on canvas of a traditional floral display in pearlware jug, signed lower left, 49 x 58 cm. Sold £40.
Johnson Georgeview full entry
Reference: GEORGE JOHNSON: TRIANGLE, RECTANGLE, CIRCLE: GEOMETRIC WORKS ON PAPER, 1995-1996. With text by Patrick Hutchings, Jenny Zimmer and the artist himself, ‘this 136-page book includes colour reproductions of key paintings on canvas, sketchbook drawings and 65 examples of the artist’s lesser-known works on paper of the mid-1990s.’
 George will celebrate his 95th birthday this year.

"[Painting] is my way of seeing life, relationships, and things around me creatively - my way of seeking a creative world.  I enjoy looking into, under, further, in search of the vital organic life force in all things.  It is my way of imposing a sense of order which I find necessary."  The Artist, 1975

“[Johnson] is one of Australia’s most committed and consistent abstractionists. His paintings are tough and uncompromising and possess a forceful clarity that promises those infinite relational variations which are both the essence and the lure of abstraction…”  Jenny Zimmer, 2006.
Publishing details: Australian Scholarly Publishing, Melbourne, 2021, 136pp
Ref: 1000
British Map Engravers – A Supplementview full entry
Reference: British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK. Supplement has been indexed by searching terms ‘Australia’ and Australia’s capital cities and entering artists found into the Scheding Index.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Ref: 1000
Gibbons Sydneyview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
Sydney Gibbons
GIBBONS, William Sydney (1825-1917) — Melbourne
Lithographer, journalist, photographer, and analytical chemist. Lithographed and published Map of California from the latest authorities showing the whole of the Gold District ca.1850.
William Sydney (Sidney) Gibbons, generally known simply as Sydney Gibbons, was born in England 21 Jul 1825 and baptised at St. Peter Walworth, London, 15 May 1829 — the son of Benjamin Gibbons (1775-1861), a wholesale stationer of Grosvenor Place, and his wife Elizabeth Cave Hickman, who had married at Aylesbury in 1824. He was appointed collector and shipping editor of the Melbourne Argus in August 1847 and subsequently worked as a clerk in the Custom House at Melbourne 1847-1849. In 1850 he canvassed for the position of Secretary to the Melbourne Gas Company. In December 1852 he was awarded a first-class certificate and gold medal for the “best specimens of lithography, most of them adapted to useful purposes” at the Victorian Industrial Society Exhibition. He subsequently worked for the Melbourne Herald. An agreement to tutor the children of a settler named Duff in June 1855 ended in acrimony after two months and Gibbons was subsequently successful in suing his former employer in December of that year. He was one of the founders of the Melbourne Punch in August 1855, moving on to edit the Journal of Australasia in 1856. He concurrently practised as an analytical chemist, publishing pamphlets on kerosene, diet, water supply, etc., and founded the Victorian Institute for the Advancement of Science (later the Royal Society of Victoria). He also exhibited magnified photographs of microscopic objects, at various exhibitions, using some to illustrate his booklet, “Air and Water Poisoning in Melbourne” ca.1869. He married Annie Kipling in 1863, with whom he had six children. A lecture he gave on the potential dangers of kissing in 1877 was reported and commented on in the British press. He died at the age of ninety-two on 23 Jul 1917 and was buried at Carlton. Probate on his estate was granted 19 Oct 1917 — Victoria Wills and Probate Records.
5 Collins Street East, Melbourne — 1854-1882
Faraday House, Gipps Street East, East Melbourne (home) — 1882-1893
341 Royal Arcade, Bourke Street, Melbourne — 1893-1897
BNA. COPAC. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Wilson William 1795? - 1867view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:William Wilson
WILSON, William (1795?-1867) — Sydney
Engraver and copperplate printer. Engraved Map of the town of Sydney 1836 : drawn & engraved for the N.S.W. Gen’l. Post Office Directory 1836.
At the age of thirty-three Wilson arrived in Sydney from London with his wife Elizabeth and four children in steerage on the Arab 8 Sep 1828, soon advertising “W. Wilson, having lately arrived in this colony, begs to inform the public, that he engraves card, bill, and inscription plates of all kinds; crests, mottos, and cyphers, on plate, ivory, &c., dog collars, harness and door plates; printing plates for marking bales and packages, and all sorts of engraving on steel or iron” (Sydney Gazette, 20 Oct 1828). He later advertised “Cards, invoices, and copperplates of every description; arms, crests, and cyphers; mottos and inscriptions; door plates, watch and clock dials, gun locks, steel punches, office seals and stamps, cuts for letterpress, plates for marking linen, wool bags, casks, &c.; crests for carriage harness; all kinds of gold and silver work richly ornamented; gold and silver chasing, &c.” (The Australian, 21 May 1844). He died said to be aged seventy-five at his home in Pitt Street 29 Jun 1867. Wilson’s grandson, F. A. S. Wilson, writing to Truth 19 May 1922, commented “There are, or should be, in the Mitchell Library some very fine specimens of his work, as the founder of the library had a fair collection. In the olden days, when gold and silver currency was scarce, the merchants used to issue their own £1 notes, and I think that I am right in saying that they were all engraved by my grandfather”. A trade-card of about 1842 survives in the National Gallery of Australia.
Vincent Street, Clerkenwell — 1827
George Street, Sydney — 1828-1829
Prince Street, Sydney — 1832
Corner of Queen Street, Sydney — 1833
Hunter Street, Sydney — 1834-1835
York Street, Sydney — 1835-1844
56 York Street, Sydney — 1844-1847
York Street, Sydney — 1854
61 York Street, Sydney — 1855-1857
Pitt Street, Sydney — 1858-1867
394 Pitt Street South, Sydney — 1867
DAAO. NLA. Niedorf. Trove.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Goddard Charles 1823-1867view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:Charles Goddard
GODDARD, Charles (1823-1867) — Leicester & Sydney
Engraver, letterpress and copperplate printer and lithographer. Engraved William Henry Wells, A map of the county of Cumberland in the colony of New South Wales ca.1855.
Born at Leicester 18 Apr 1823, the son of Cornelius Goddard and his wife Mary Groce, who had married in 1808. An engraving and printing partnership in Leicester with Alexander Benjamin Pillans was formally dissolved 28 Nov 1846. He was discharged from insolvency in January 1848 and later that year married Eliza Anne Knibb (1830-1868) 7 Sep 1848. Following in the footsteps of an elder brother, Goddard arrived in Sydney in December 1852 aboard the Prince Alfred with his wife. A well-known lithograph he produced of the sinking of the Dunbar at the entrance to Sydney Harbour was commented on in the Leicester Chronicle 12 Dec 1857. He stood unsuccessfully for election as City Auditor in December 1862, but was then elected a year later, despite some electoral skulduggery which saw four further Goddards being nominated. He died 16 Jul 1867 aged forty-four in a horrific case of accidental poisoning — being sent aconite by a pharmacist in error for the tormentil he had been taking for his piles (Sydney Morning Herald, 20 Jul 1867). An inquest was held 18 Jul 1867 and he was buried at Camperdown Cemetery the following day. The business was taken over by his former employee George Twemlow, who promised a continuance of the work in supplying “crests, arms, ciphers, and inscriptions, business and visiting cards, bill heads, &c. neatly engraved and printed. Brass stamps and seals for banks, offices, companies, &c” (The Empire, 30 Jul 1867).
Granby Street, Leicester — 1846
Cank Street, Leicester — 1847-1851
321 Castlereagh Street North, Sydney — 1853-1854
46 Castlereagh Street, Sydney — 1854-1855
Brougham Place, Sydney — 1855
32 Pitt Street, Sydney — 1855-1857
173 Pitt Street, Sydney — 1858-1862
199 Pitt Street, Sydney — 1862-1867
BBTI. BNA. Census 1851. LG. NLA. Niedorf. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Jervis Harry Cooperview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:Harry Cooper Jervis
JERVIS, Henry (Harry) Cooper (1814-1862) — Sydney
Engraver and lithographer. Produced Francis Price Blackwood, Chart of the Barrier Reef Australia from latitude of 12° 15’S to 9° 07’S with Torres and Endeavour Straits as surveyed in Her Majesty’s vessels Fly and Bramble ca. 1847. Also engraved postage stamps, etc.
Born at Wincanton, Somerset, in 1814 and baptised 15 Feb 1816 — the son of James Jervis, a draper, and his wife Sarah Cooper, who had married in 1810. Married Jane Edwards Wessen (1818-1869), with whom he was to have at least eight children, at Bath 17 Dec 1839. Emigrated to Australia, arriving on the Fairfield 14 Dec 1840, with his wife and a child. He worked originally in Adelaide, where he was additionally appointed a police constable in September 1842. He arrived in Sydney via Hobart in April 1843, publishing a detailed price-list in the Sydney Dispatch 9 Dec 1843. He worked on occasion with “Allan & Wigley”. Jervis was declared insolvent in October 1846 — at a hearing on 17 Oct 1846 “The meeting allowed the insolvent to retain his bed, bedding, and wearing apparel” (Sydney Morning Herald, 19 Oct 1846) — he applied repeatedly for a certificate of discharge the following year. He became a publican in December 1853, taking over the “Crown & Anchor” in Newtown (although keeping on his Pitt Street premises), but was fined the following year for selling alcohol on a Sunday. The licence was passed on by September 1854. He was declared bankrupt once more in June 1856. He was sentenced to twelve months in jail with hard labour for assault and inflicting grievous bodily harm on his wife in August 1860. Died at Sydney aged forty-seven 3 Dec 1862. Buried 5 Dec 1862 at Camperdown.
Opposite the Royal Oak, Hindley Street, Adelaide — 1841
Adelaide — 1841-1843
333 Pitt Street, Sydney — 1843-1851
329 Pitt Street North, Sydney — 1852-1853
28 Pitt Street, Sydney — 1855-1857
169 Pitt Street, Sydney — 1858-1862
DAAO. Niedorf. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Wigley William Hankinson view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
William Hankinson Wigley
WIGLEY, William Hankinson (1831?-1870) — Sydney
Lithographer and engraver. For work produced as “Allan & Wigley”, see John Allan.
Born in or about 1831 and baptised 8 Feb 1833 at St. Peter, Liverpool, the son of William Ayscough Wigley, gentleman, of Blair Street, Toxteth Park, and his wife Margaret Worthington, who had married in 1829. He was trading with John Allan as “Allan & Wigley” from 1 Jan 1855 to 1867. The firm’s move from Bridge Street to George Street was announced in The Empire and other newspapers in July 1858. The partnership was dissolved 1 Jan 1868, Wigley taking over and trading as “W. H. Wigley & Co”. He had joined Masonic Lodge 260 at Sydney 16 Nov 1857. He was declared insolvent in September 1870, and bankruptcy proceedings were still ongoing at the time of his death. He died 30 Dec 1870 and was buried at Rookwood aged thirty-nine.
23 Bridge Street, Sydney — 1855-1858
297 George Street, opposite the Empire Office, Sydney — 1858-1870
NLA. Niedorf. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Allan John fl. 1845-1883view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
ALLAN, John (fl.1845-1883) — Sydney
Engraver, lithographer and printer. Produced Plan of township of Charleston : being part of the Farringdon Estate in the county of Murray ca.1846; Bathurst, Brisbane, Macquarie and numerous other maps for William Henry Wells, “A geographical dictionary, or gazetteer of the Australian colonies” 1848; Map shewing the roads in New South Wales 1852; Plan of allotments on the North Shore and township of North Sydney belonging to William Lithgow Esq.; Plan of Upper Paddington divided into allotments for sale being part of the Point Piper Estate and numerous similar undated local building and auction plans; William Meadows Brownrigg, Plan of the mills, cloth factory and cottages adjoining the Queens Wharf, Parramatta 1853; and, in partnership with William Hankinson Wigley, trading as “Allan & Wigley”, C. E. Langley, Plan of Dunblane, part of the Camperdown estate 1855; Ferdinand Hamilton Reuss & J. L. Browne, Ellensville the property of H. G. Smith Esq. 1855; William Rutter, Plan of eligible villa sites and capital market gardens, portion of the Petersham Estate known as Marrickville to be sold by auction by Messrs. W. Dean & Co. 1855; Plan of a portion of the estate of Boat Alley the property of John Hawdon Esq to be sold by auction 1856; E. J. Bennett, Plan of the village of Hexham : County of Northumberland, New South Wales 1856; Francis Clarke, Map of the city of Sydney, New South Wales 1857; Map of the proposed seven united provinces of eastern Australia 1857; John Russell, Sands & Kenny’s map of Sydney and its environs 1858; J. Roche Ardill, Plan of Braidwood 1859; Samuel Jackson, Plan of the eastern division of Regentville, known as Frogmore to be sold by order of the mortgagees 1861; Reuss & Browne, The Drainwell Estate including the Eastern Division of Parramatta South 1863; T. W. Bowden, Plan of Riverstone near Windsor to be sold by auction 1864, etc. Also produced music, seals, views by Samuel Thomas Gill, etc.
Allan was the son of Alexander Allan of Bonnygate, Cupar, Fifeshire, Scotland, whose death in June 1863 was announced in the Sydney Morning Herald 21 Aug 1863 — and may probably be identified with the John Allan born 9 Apr 1822 and baptised at Dysart, Fife, 5 May 1822 — the son of Alexander Allan and his wife Mary Skinner. He commenced in business with an announcement in the same newspaper on 1 Jul 1845, advertising seal and copperplate engraving, as well as lithographic printing. He advertised his engraving business in “Low’s directory of the city and district of Sydney” for 1846 in the following terms: “Engraving. John Allan, in returning his sincere thanks to his friends and the public generally, for past favors, respectfully solicits a continuance of the same. J. A. having served his apprenticeship to Mr. Clint [Raphael Clint], and being a practical workman in several branches, assures those parties who have not yet favoured him with their orders, that they may rely upon having them executed in a superior manner. Stone, seal and copper plate engraving and printing, executed in the first style. Plans, labels, bill-heads, etc., lithographed. Maps, prints, etc., mounted and varnished with neatness and despatch”. His move to “more eligible premises” in Hunter Street was announced in the Sydney Morning Herald 8 Apr 1847. He traded with William Hankinson Wigley as “Allan & Wigley” from 1 Jan 1855 to the end of 1867. The firm’s move from Bridge Street to George Street was announced in The Empire and other newspapers in July 1858. The partnership was dissolved 1 Jan 1868, Wigley taking over and changing the name to “W. H. Wigley & Co”. In later life Allan concentrated on seal engraving and died at Sydney 22 Oct 1883, reportedly aged fifty-seven. He was buried at Rookwood.
York Street, near the Barrack Gate, Sydney — 1845
Bridge Street, Sydney — 1846
81 King Street West, Sydney — 1846-1847
2 Hunter Street, Sydney — 1847
2 Bridge Street, Sydney — 1850-1852
23 Bridge Street, Sydney — 1855-1858
297 George Street, opposite the Empire Office, Sydney — 1858-1867
– 287 Macquarie Street, Sydney (home) — 1861
84 Upper Fort Street, Sydney — 1883
BM. NLA. Tooley. Trove.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Moffitt William 1802-1874view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
MOFFITT, William (1802-1874) — Sydney
Bookseller, printer, bookbinder, stationer, engraver & copperplate printer. Engraved William Light, Chart of Port Adelaide, South Australia 1839. Published William Henry Wells, “Key to Wells’s map of the city of Sydney, 1850”. Also produced views, diaries, directories, almanacs, letterheads, music, trade-cards, etc., employing both John Carmichael (see BME 2011) and William Wilson at various times.
Born at Liverpool 19 Feb 1802 and baptised William Preston Moffitt at St. Peter Liverpool 29 Sep 1811 — the son of William Moffitt, an attorney who died in 1807, and his wife Mary Smith. Originally trained as a printer and bookbinder, in 1823 he was sentenced to seven years transportation for stealing a case of tea and eventually sailed from Plymouth on the Guildford 22 Mar 1827, arriving at Sydney 25 Jul 1827. He was granted permission to marry Mary Anne Galliott (1813-1863) on 24 Dec 1829 and was married 18 Jan 1830 at St. James, Sydney. At the expiry of his sentence, Moffitt set up in business for himself. Two of his six children — his only son, Henry, aged ten, and Sophia Jane aged sixteen months — died of scarlatina in April 1841. In the 1840s Moffitt also “neatly executed” the first bank-notes for the New Zealand Bank. “In 1844 he stood unsuccessfully for the City Council but in general he avoided public life, devoting himself to his business and to unobtrusive acts of private benevolence” (ADB). He died 31 Jul 1874, survived by three married daughters and was buried 1 Aug 1874 at Camperdown Cemetery after a funeral service at St. Stephen, Sydney. He left a very considerable estate — “We understand that Mr. Moffitt left personal property to the amount of £230,000, and that £2,300 has been paid on it as legacy duty. His real property is valued at nearly the same amount — say somewhat under half a million sterling in the whole” (The Empire, 4 Sep 1874). The Pitt Street business continued under Thomas Roger Yeo (1817- 1899), Moffitt’s long-serving manager.
8 King Street, Sydney — 1831-1833
23 Pitt Street, Sydney — 1833-1843
299 Pitt Street, Sydney — 1844-1845
301 Pitt Street, Sydney — 1846-1856
277 Pitt Street, Sydney — 1858-1874
ADB. NLA. DAAO. Niedorf. Tooley. Trove.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Pettingell Joseph 1799-1859view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
Joseph Pettingell
PETTINGELL, Joseph (1799-1859) — Sydney
Tailor; law stationer & lithographer. Produced Leitrim in the district of the city of Sydney about a quarter of a mile from the boundary stone 1843.
Joseph Pettingell is reported to have been born both at Barkway, Hertfordshire, and at Fincham, Norfolk, in either case on 3 Jul 1799. He married Marianne (Mary Ann) Jones (1800?-1890) 6 Jul 1820 at St. George Bloomsbury in London. A partnership in Mount Street, London, with Thomas Evans and William Pettingell, as tailors and breeches-makers was formally dissolved 26 Jul 1833. He journeyed to Australia, travelling under his wife’s mother’s maiden name of Linden, on the Thomas Laurie, leaving London 17 Mar 1834 and arriving in Hobart 4 Sep 1834. His illustrated journal from the voyage survives in the National Library of Australia (MS 10126) — it records other passengers, the weather, the crew, shipboard meals, life in Hobart, etc. He immediately set up a continuation of his London business as a tailor and breeches-maker, advertising his work in London for the royal family, the nobility, and officers of the Royal Horse Guards. He offered his apparently commodious premises in Campbell Street for sale in May 1835 before moving to Argyle Street. In September of that year, his wife announced the opening of her boarding school for young ladies and it was from her new address in Brisbane Street that Joseph Pettingell offered a chart of the coast of New Holland in April 1836. In August 1836 Pettingell was appointed postmaster at Evandale. By 1837, if not earlier, the Pettingells were running two separate schools for boys and girls at Evandale, but Joseph became insolvent and was imprisoned for debt at Launceston in September of that year. He lost his position as postmaster, but appears to have been released from prison by March 1838. Six months later he arrived in Sydney and in December 1838 he announced that he was to open a law stationery office there. His wife and four of their children sailed from Tasmania to join him at the end of January 1839. The Sydney Monitor 16 Aug 1839 noted that “Mr. Pettingale is a law-stationer, and emigrated to the colony recently. He cannot afford at present, to pay clerks, and his daughters, much to their credit, employ their leisure hours in engrossing for their father, and which art they perform in a masterly manner”. In the same month Pettingell added the occupation of surveyors’ draughtsman to his talents and announced with extensive advertising that he “undertakes to copy plans of estates &c., from the rough drawing or otherwise to any size, either colored or plain, equal to any done in the colony”. With a move to Pitt Street in early 1840 he was able to add lithography to his other activities, announcing that clients as far afield as New Zealand could favour him with “drawing and colouring their plans, on any scale, with neatness and expedition, as also in lithographing the same” (Sydney Monitor, 5 Feb 1840). He was bankrupted again in June 1842. He successfully sued someone who owed him a great deal of money in 1843 and in 1844 re-emerged, working for a firm of solicitors and offering evening classes in writing, engrossing, etc. He died 13 Jan 1859 and was buried 15 Jan 1859 at Camperdown Cemetery.
Mount Street, Grosvenor Square, London — 1827-1833
15 Campbell Street, Hobart — 1834-1835
Argyle Street, Hobart — 1835
16 Brisbane Street, Hobart — 1836
Prospect House, Evandale — 1836
8 Josephson’s Terrace, Elizabeth Street North, Sydney — 1839
15 Phillip Street, Sydney — 1839-1840
Pitt Street South, Sydney — 1840-1842
343 Elizabeth Street, Sydney — 1859
LG. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Austin John Gardner 1812-1884view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
John Gardner Austin
AUSTIN, John Gardner (1812-1884) — Sydney
Lithographer, zincographer, stationer and copperplate printer. Lithographed Plan [of Sydney] shewing the site for the New Government House, Public Offices, the Circular Quay & improvements of streets connected therewith 1836; John Helder Wedge, Map of Port Phillip 1836 — for Raphael Clint. Also produced Robert Russell, “Lithographic drawings of Sydney and its environs” 1836, portraits, caricatures, music, etc.
Baptised 26 Aug 1812 at St. Dunstan Stepney, London, the son of Daniel Austin, gentleman, and his wife Hannah Hill, who had married in 1796. Arrived in New South Wales 12 Jun 1834 on the Bristol, out of Gravesend, and commenced business as a lithographer. He shortly afterwards announced that “in addition to the lithographic, he has lately received from England a copper-plate printing press, by which means he is enabled to print every description of copper plates, viz.: maps, views, bills of lading, bills of exchange, visiting and invitation cards, &c. &c. &c., on the shortest notice, and most reasonable terms” (Sydney Herald, 3 Nov 1834). In 1836-1837 he traded with William Fernyhough as “J. G. Austin & Co”. He married Annette Schaw (1816-1884) at St. Andrew’s Scots Church, Sydney, 27 Jul 1837. Austin appears to have sold his lithographic equipment to Raphael Clint in 1838. His wife sold a parcel of land on Bligh Street in Sydney for £500 in 1839. He was described as a store-keeper of Wollongong when declared insolvent in April 1842. In July 1843 he was appointed a rate-collector for Phillip Ward. In April 1849 it was announced that he had absconded and a warrant issued on a charge of embezzlement. A reward of £25 was offered for his apprehension. No report of his capture has been found and he is thought to have spent most of the next thirty years in New Zealand – certainly letters intended for him were received at Auckland in the 1850s. An inheritance from his father, who had died in 1854, in favour of Austin’s wife and children, was announced as unclaimed in the London Gazette in 1881 and 1884. He was next definitely heard of in 1881, once more described as a lithographer, and now living in Kyneton, Victoria. He was at that time granted administration of the estate of the late husband of his daughter, Fanny Dutton, “until she shall become of sound mind”. He was buried 8 Dec 1884 at Kyneton, six months after the death of his wife.
15 Phillip Street, Sydney — 1834-1835
Jamison Place, George Street — 1835
13 Hunter Street, Sydney — 1835
12 Bridge Street, Sydney — 1836-1837
Lower George Street, Sydney — 1837
16 O’Connell Street, Sydney — 1837
Harbour Street, Wollongong — 1842
Victoria Street, Sydney — 1848
DAAO. LG. NLA. Neidorf. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Baker William Kellett 1807?-1857view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BAKER, William Kellett (1807?-1857) — Sydney
Engraver, stationer, printer, lithographer, bookseller and publisher; proprietor of a circulating library. Also traded as the “Hibernian Press” or the “Hibernian Printing Office”, and the “Australian Stationery Warehouse”. Produced Peter Lewis Bemi, Plan of the estate named Ferry Gardens 1840; William Henry Wells, A map of the county of Cumberland in the colony of New South Wales 1840; Thomas Bird, Plan of XXX allotments Balmain Darling Harbour ca.1840; A map of New Zealand from original surveys by H.M.S. Pelorus ca.1840; Map of Australia showing the routes taken by Sir T. L. Mitchell in his expeditions into the interior of New Holland ca.1841; Plan of 37 allotments at Parramatta being part of the estate of Newlands 1841; E. R. Mickelburgh, Chart of Port Albert 1841; Plan of Chelsea Gardens, Surry Hills 1841; Map of a portion of Australia showing the area of the twenty located counties of New South Wales 1841; Thomas Bird, Town of Brecon 1841; Plan of the township of Broughton 1841; William Henry Wells, Plan of 95 allotments at Canterbury adjoining the Australasian Sugar Company’s works 1841; Edward James Howes Knapp, 108 allotments the property of T. Barker Esquire to be sold by auction by Mr. Blackman 1842; Thomas Bird, Chippendale : plan of allotments in the town of Sydney 1842; Mortimer W. Lewis & Charles E. Langley, Plan of the post town of Saint Marys and suburban allotments situate at South Creek 1842; R. W. Goodall, Plan of Dr Shirwin’s estate near Parramatta 1842; Alexander W. Meikle, Chippendale : plan of valuable building allotments in the city of Sydney 1842; Plan of the county of Cumberland shewing the parishes and police districts 1843; “Baker’s Australian county atlas” 1843-1846; Samuel Augustus Perry, Overland expedition to Port Essington by Ludwig Leichhardt; laid down by Capt. Perry 1846; Baker’s map of Moreton Bay and part of the Darling Downs, Clarence Districts : shewing the stations of the squatters in the Northern Districts of N.S.W. 1846; P. Petrie, Chart of Port Fairy Belfast N.S.W. 1847, etc. Also published almanacs, diaries, music, the Australian Medical Journal, etc.
Born in Dublin, Baker arrived in Sydney in or about 1834, advertising early the following year from his premises “at the corner of King and Castlereagh-streets, where any commands for lithographic and copperplate printing, will be executed in the best manner” (The Australian, 27 Feb 1835). In 1837 he reminded customers that “he continues to mount, letter, colour, or varnish maps, charts, surveying or architectural plans” (The Australian, 13 Jun 1837). The following year he advertised a consignment of Catholic texts from Ireland, as well as a new style of enamelled cards printed in gold or copper bronze. He announced that he had “purchased from Mr. William Nicholas, of Bridge street (formerly Barlow) the zinc patent, press and plates, &c., and engaged a first-rate printer from Hulmandel’s [sic] lithographic establishment, London [i.e. Charles Joseph Hullmandel — see BME 2011], he is now enabled to execute orders to any extent, at the shortest notice, viz : — views, plans of estates, deeds, circulars, &c., &c.” (Sydney Free Press, 24 Aug 1841) — although there was a later dispute over that copyright with Edward David Barlow in 1844. A move to “more commodious and central premises” in King Street East was announced in the Sydney Free Press 28 May 1842, Baker now styling himself as both the “Hibernian Printing Office” and the “Australian Stationery Warehouse”. In 1844, he announced the purchase of a forgery-proof bank-note engraving machine. He moved to new premises once more in 1848. In 1850, he advertised some remaining copies of a map of Sydney, “which was engraved and dedicated to the first Mayor of Sydney, John Hosking, Esq. It shows the boundary of the city, the various wards, parishes, Circular Quay, with a score of intended streets, nor yet completed … but mapping, like everything else, will not pay now-a-days for engraving. On hand, maps of every county in New South Wales, the Squatting Districts, &c., dedicated to and revised by Sir T. L. Mitchell, Knt, Surveyor-General, New South Wales” (The People’s Advocate, 28 September 1850). In 1851, he advertised “On hand, a few copies of Sir Thomas Mitchell’s county maps of Bathurst, Roxburgh, and Wellington, showing every acre of land in the hands of private individuals, as well as those in possession of government in the new gold regions of Australia” (Sydney Morning Herald, 21 May 1851). In later life he concentrated on the production of almanacks. He fell from his horse and died of apoplexy by the side of the road at Mount Vincent on 16 Jan 1857 aged forty-nine, leaving his widow Jane Baker and seven surviving children, for whom a public subscription was announced. He was buried at the Glebe Cemetery, East Maitland. A portrait of Baker by William Nicholas was published in 1848.
Corner of King and Castlereagh Streets, Sydney — 1835
19 King Street East, Sydney — 1836-1842
101 King Street East, Sydney — 1842-1846
— and 103 King Street, Sydney — 1844-1845
— and 263 Brickfield Hill, Sydney — 1845-1846
117 King Street East, Sydney — 1848-1851
50 Parramatta Street, Sydney — 1852-1857
COPAC. DAAO. NLA. Niedorf. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Bemi Peter Lewis 1795?-1853view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
Peter Lewis Bemi
BEMI, Peter Lewis (1795?-1853) — Sydney
Surveyor, land agent and lithographer. Produced Saint John in the hundred of Parramatta, county of Cumberland 1828 — thought to be the first map produced by lithography in Australia; Map of part of Keelogues at Illawarra 1839 — printed by Edward David Barlow; Map of a portion of the estate named Paddington on the South Head Road near Sydney (ms) 1839; Plan of the estate named Ferry Gardens 1840 — printed by William Kellett Baker; Plan of the estate named Fitzroy Terrace situate at Camperdown (ms); Kensington to be sold by auction — printed by Baker; Plan of allotments in a part of Camperdown named Milton 1843 — printed by Raphael Clint; Map of 84 allotments of land situate on the Surry Hills in the city of Sydney 1852, etc.
Peter Lewis (or Louis) Bemi was born in London in or about 1795, the son of the Italian Peter Bemi and his wife Ann Phillips, who had married at St. Dionis Backchurch in London 4 May 1794. In 1815, Bemi was charged with stealing a timepiece valued at £2 from a public house called the “Adam & Eve” near St. Pancras. He was acquitted on that occasion, but convicted of another theft on 13 Sep 1815. He was sentenced to death, but the sentence was commuted to transportation for life in May 1816. He arrived in Sydney at the age of twenty-one aboard the Mariner 11 Oct 1816. Employed as a clerk at Sydney, he was sufficiently reintegrated and well thought of to request a salary 6 May 1824. He was however denied permission to marry Charlotte Anderson in that year and denied a conditional pardon in 1829. He married Jane Wright (1797-1851), daughter of the highwayman and First Fleet convict James Wright, 23 Feb 1827 at St. John Parramatta. By 1828 he was employed as a government draughtsman and surveyor and was finally pardoned 6 Sep 1832. He subsequently worked independently as a surveyor and land-agent, much involved in the staking out of building lots on the fringes of Sydney. The Australian 12 Dec 1837 reported of a plan of Darlinghurst that “the plan is finished by P. L. Bemi in that masterly style, for which he is justly pre-eminent in Australia”, while the Sydney Gazette confirmed on the same day his “masterly style, for which he is so justly celebrated as a surveyor in New South Wales”. He opened an office in George Street in July 1838. Like so many others in the colony, he was declared insolvent and his furniture auctioned off 14 May 1842. His debts amounted to a mere £12.14s.5d. (Australasian Chronicle, 24 Mar 1842). In 1852 his report on the woeful state of disrepair of the Berrima Road was read to a public meeting. Bemi himself died suddenly aged fifty-nine on 11 Apr 1853 and his funeral held at Camperdown two days later.
Adjoining Polack’s Bazaar, George Street, Sydney — 1838-1840
Pitt Street, Sydney — 1840-1842
Elizabeth Street, Cattle Market, Sydney — 1847
York Street, Sydney — 1853
BNA. NLA. OB. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Barlow Edward David 1808?-1881view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BARLOW, Edward David (1808?-1881) — Sydney
Printer, lithographer, architect, surveyor, decorator and entrepreneur. Produced Peter Lewis Bemi, Map of part of Keelogues at Illawarra the property of H. M. Attorney General [J. H. Plunkett] : for sale by Mr Polack on 23 Sept. 1839; Plan of the 24 Midway Estates to be sold by auction by Mr S. L. Lyons 1840; Plan of 34 alluvial farms at Illawarra the property of Andw. Lang Esq. to be sold by auction 1840; Plan of the Port Maitland allotments, the property of James King ca.1840; Map of sundry allotments in the town of West Maitland the property of J. Weller 1840; Plan of the extension of the town of Yass : to be sold by auction by the Australian Auction Company 1840; J. Armstrong, Plan of valuable city property called Fowler’s upper & lower pottery grounds 1844, etc. Also produced views, portraits — some lithographed by William Nicholas, caricatures, etc.
Born in London in or about 1808, Barlow was the son of Thomas Barlow of Follington Park, Hornsey, who died in 1838. He testified at the Old Bailey 27 May 1830 about a theft he had witnessed in Lisson Grove. He married (1) Maria Sarah Lyon Crawford (1815?-1870) at Christ Church, Marylebone, 12 Jan 1833. Originally a surveyor, he arrived in Sydney from London aboard the Lord Goderich 30 Aug 1836. He initially offered his services as a decorator — promising house painting, sign painting, gilding, cleaning or varnishing pictures, marbling and wood-graining. He subsequently worked briefly from the premises of Raphael Clint. Barlow then in 1837 took over the lithographic and zincographic business of John Gardner Austin, subsequently engaging in a war of words with both Austin and Clint, threatening Clint with legal action over a patent in zincography in August 1838. That same year, he announced an expansion into the shop next door and that “several first-rate workmen are expected to arrive shortly from England and are already engaged” (The Australian, 27 Apr 1838). He also announced “maps and charts; engraved, and drawn on zinc or stone, enlarged, reduced, mounted upon cloth, colored, varnished &c. Every description of engraving, zincographic, lithographic and copper-plate printing done in the first style of elegance. The engraving department under the immediate superintendence of Mr. W[illiam] Nicholas” (Commercial Journal, 5 Sep 1838). His lithographic equipment was sold to William Kellett Baker in September 1840, Barlow returning briefly to London, where he exhibited panoramic views of Sydney, Hobart, etc. William Nicholas took over Barlow’s own business. His return to Sydney was announced in October 1843, “Mr. Barlow has just returned to the colony with a most splendid assortment of drawings and engravings of different descriptions, and has re-opened his old shop in Bridge-street. He has also brought with him the necessary apparatus for carrying on lithography on an extensive scale, and as he has inspected all the recent improvements, and been in the workshops of the best lithographers in London, we are in hopes that our Sydney artists will not in future be compelled to circulate an apology with every drawing they publish, on account of the manner in which the printing is done” (Sydney Morning Herald, 16 Oct 1843). Back in Sydney, his life fell into professional and personal problems, with an action against Baker for plagiarism and not least a public lawsuit early in 1845 for increased maintenance and the recovery of her piano by his estranged wife, a music teacher. After the case had been decided in his wife’s favour, Barlow and his mistress, the “accomplished” Rosetta Myers Hartnell, “left the police yard, arm in arm, amidst the jeers of the spectators” (Sydney Morning Herald, 12 Feb 1845). A letter from Barlow appeared in the same newspaper on the following day refuting many of his wife’s claims and accusing her of “intolerable domestic behaviour”. A collection of his “English and foreign drawings” was dispersed at auction 2 Apr 1845. After a move to Maitland, Barlow subsequently returned to England, becoming a house-agent and auctioneer, and having a number of children with a second wife, Susannah Jane Cooper (1834-1918), whom he was eventually able to marry at St. Paul, Lisson Grove, 7 Apr 1870. He died in London aged seventy-three and was buried at Camden 9 May 1881.
Paddington, London — 1834
5 George Street, Sydney — 1836
3 & 4 Colonnade, Bridge Street, Sydney — 1837-1840
Theatre of Arts, Bridge Street, Sydney — 1839-1840
33a Red Lion Square, London — 1841-1842
Colonnade, Bridge Street, Sydney — 1838
9 Bridge Street, Sydney — 1844-1845
Colonnade, Bridge Street, Sydney — 1845
High Street, Maitland — 1845
Weybridge Green, Surrey — 1855
12 Colville Place, Charlotte Street, Fitzroy Square — 1856
17 Charlotte Street, Fitzroy Square, London — 1860-1862
36 Charlotte Street, Fitzroy Square, London — 1868-1878
BBTI. BNA. Census 1841, 1861-1881. DAAO. NLA. OB. Tooley. Trove. Twyman.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Jones Jacob William (fl.1841-1857)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
JONES, Jacob William (fl.1841-1857) — Wellington & Sydney
Artist, draughtsman and lithographer. Produced Robert Park, Plan of Wades Town adjoining the city of Wellington, New Zealand, the property of Messrs. Watt & Wade, laid out in building lots 1841; Plan of the city of Wellington, Port Nicholson, New Zealand 1841; Edward Main Chaffers, Chart of Port Nicholson New Zealand 1841 — all with Thomas Bluett.
He was perhaps the Jacob William Jones baptised 7 Sep 1815 at Claines, Worcestershire, the son of Jacob and Sarah Jones. He can probably be identified as the W. Jones aged twenty-five who arrived in Wellington as a cabin passenger on board the Olympus 20 Apr 1841 — the same ship on which Thomas Bluett and his family arrived — certainly the two were working together shortly thereafter. He was presumably the Jacob William Jones of Wood’s Hotel, Furnival’s Inn, who paid £125 for a parcel of land (Wainuiomata No. 31) in New Zealand 5 Nov 1840, but which he transferred to David Roberts 2 Jul 1841. He moved to Sydney early in 1842 and worked as a clerk and later an inspector at the Custom House between 1843 and 1854. An album of his sketches of New Zealand is owned by the Royal Geographical Society of Australasia, while some sketches of Sydney executed in the 1840s are in the Mitchell Library. One of his works was exhibited at the second Society for the Promotion of the Fine Arts exhibition at Sydney in 1849 and he was a member of the Sydney Sketching Club. He was last recorded in Sydney in 1857 and may possibly to be identified with the man of this name who died at Windsor, Berkshire, in 1858.
DAAO. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Clint Raphael 1797-1849view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
CLINT, Raphael (1797-1849) — Sydney
Surveyor, engraver, publisher and lithographer. Produced Plan of the town of Albany, surveyed by Raphael Clint 1832; John Helder Wedge, Map of Port Phillip 1836 — lithographed by John Gardner Austin & Co.; James Williamson, A plan of Melbourne Port Phillip from actual survey 1839 — seemingly the first published map of Melbourne; Map of the south and eastern parts of Australia with the present state of knowledge of the interior 1839; Part of the S W side of the Frith of the Thames in New Zealand 1839; Plan of 16 allotments forming a portion of the Brighton Estate for sale by auction by Mr Stubbs 1840; 18 building allotments, New South Head Road : to be sold by auction by Mr. Stubbs on Tues. 15th Sept. 1840; Edward James Howes Knapp, Plan of the allotments at Craigend Darlinghurst : the property of Sir T. L. Mitchell, S. G. & C. for sale by Mr. Stubbs ca.1840 — lithographed by Forbes Mudie; A plan of 40 suburban allotments at St Vincent on the north shore of Bateman’s Bay 1841; Plan of the beautiful village of Enmore 1841; William Henry Wells, Camperdown Terrace 1841; Plan of the city of Wellington, Port Nicholson, New Zealand 1841; J. Armstrong, Plan of forty seven allotments called Glenhurst at Darling Point to be sold by auction 1841 — lithographed by Forbes Mudie; James Wilson, Plan of fourteen farms at Curryjong : for sale by auction by Foss and Lloyd 1841; H. Finch, The estate of Lewinsbrook in the county of Durham 1841; Plan of the villa Bello Retiro on the Cook’s River Road for sale by auction 1842; G. S. Whitaker, Plan of the village of Colyton, the property of William Cox Esqre. : to be sold by auction by Mr Laban White 1842; J. Armstrong, A plan of an estate at Crookhaven : the property of the late Lieut Colnl. Leahy 1842; E. J. H. Knapp, Plan of “Redfern’s Grant” forming the southern extension of the town of Sydney 1842; William Henry Wells, Plan of O’Connell Town, situated on the new cut of Parramatta Road to be sold by auction 1843; A plan of 165 building allotments at Melbourne ca.1845; A chart of the North Island of New Zealand carefully collated and arranged ca.1845; J. Armstrong, The Bellambi Estate, Illawarra ca. 1845; Sir Thomas Mitchell & Ludwig Leichardt, A map shewing the recent discoveries in New South Wales and North Australia 1846; William Henry Wells, A map of the county of Cumberland in the colony of New South Wales ca.1848, etc. Also known for bookplates, caricatures, seals, door-plates, sundials, etc. Also sold telescopes, etc.
Reported to have been born in Hereford in 1797, but baptised 21 Feb 1798 at St. Mary Lambeth, in London. He was a son of George Clint, A.R.A. (1770-1854), genre painter and engraver, and his first wife Sarah Coxhead, who had married at Lambeth in 1792. Exhibited intaglios at the Royal Academy 1817-1828. Married Mary Ann Chapple in London (St. Martin in the Fields) 18 Dec 1825. He testified at the Old Bailey 23 Oct 1828 concerning a burglary at his house in Cecil Street. After working as a seal engraver in Glasgow and London he emigrated to Western Australia on board the Calista arriving on 5 Aug 1829 and then taking up a post with the Survey Department, exploring previously unmapped territory and encountering people who had never seen a European before. His wife joined him in 1831 and they moved to Van Diemen’s Land (Tasmania), where he again worked for the Survey Department. He was fined in September 1833 for diverting a chain-gang under his supervision to carry out work on his own behalf — an incident which led to a newspaper feud with the Colonial Times of Hobart. In 1834 his wife was accused of selling illicit grog to the soldiery and Clint was dismissed from his post, although this may have had more to do with Clint’s excoriating critique of the local administration published in the Colonial Times 26 Aug 1834 — a critique which elicited a furious backlash from pseudonymous correspondents in the same newspaper. Back in Sydney, he announced the forthcoming publication of a handbook on basic surveying and returned to engraving. In 1836 he announced the recruitment of an engraver from London and early the following year he was advertising “a complete lithographic establishment, which will be put in operation forthwith under the conduct of an artist of eminent talent”. In 1837 he was accused by his former co-tenant Edward David Barlow of having pirated the technique of zincography, for which Barlow claimed an exclusive patent. An arrangement with the convict artist, engraver, and later photographer, Thomas Bock (1790-1855) in 1838 similarly lasted only a matter of weeks. In 1839, Clint had an employee named John Price (d.1844) jailed for a month for walking out on his work — a conviction quashed on appeal. Price exacted his revenge by advertising in The Australian 11 Jan 1840 that he was now in a position to offer “engraving executed in a style of superiority unknown to Clint”, followed by a much more detailed letter published in the Commercial Journal and Advertiser 23 Sep 1840, detailing Clint’s numerous fallings-out with employees and commercial rivals. Clint was concurrently engaged in a similar feud with the surveyor William Henry Wells (1815-1860). In 1841 Clint announced that he was to return to his original occupation of seal engraving, noting that he had won gold medals in London in three successive years 1824-1826 (Sydney Herald, 19 June 1841), a decision reversed with the announcement later that year that he had “received his expected supply of materials for printing impressions in Lithograph … Antiquarian, double elephant drawing paper … The undersigned in closing his front shop, begs to announce that his business is conducted as usual in the back buildings of the same premises, where he trusts his patrons will find greater attention than could be paid in a large front concern, obstructed by the depraved habits of the workmen employed, not from choice but necessity” (Sydney Herald, 28 Dec 1841). The following year he begged to state “that during the progress of the existing commercial epidemic, he thought it prudent to retire from the sphere of contagion — that seeing its worst agonies are past the climax, and the period of convalescence arrived, he will resume business in the old way, in Hunter-street, after the 26th of October” (Sydney Morning Herald, 28 Oct 1842). In December of that year he announced that clients could examine “a book of a thousand specimens of lithographic plans of estates, printed by him … in properties submitted to public auction where his plans have been used, the clearly defined lines and figures thereon, which no other establishment has, or ever will rival, has given a public confidence, under which all fear of deception having vanished from the public mind, the sales have gone off with equal satisfaction to the proprietors and the purchasers … whenever sales have been attempted in which the Lithographs have been executed at other establishments, the sales have gone off in a languid half-price feeling, which must ever be the case where bad work and smeared lines, and obscured figures puzzle a bidder” (Sydney Morning Herald, 7 Dec 1842). Despite this, he announced in December 1843 that he had been “almost totally unemployed” for a considerable time and was going to return to England. In 1846, he was sued for maintenance by his wife — the court finding in her favour. He subsequently announced dramatic reductions in his fees, but his estate was sequestrated for insolvency on 2 Jan 1847, his debts amounting to £101.6s.2d. and his assets only £61. The Bank of Australia subsequently proved a claim of £12 and the surveyor W. H. Wells one of £4.10s. — “the meeting allowed the insolvent to retain his wearing apparel and engraving tools”. Some 400 copper plates (presumably for printing bookplates) which Clint held on behalf of their owners were handed over to the copperplate printer, James Turner Grocott (1821-1869). A certificate of discharge was subsequently granted on 25 Nov 1847 and confirmed in December of that year. He died aged fifty-two after a few days of severe illness on 13 Sep 1849. His widow was left in penury, unable even to cover even the cost of his burial. She publicly appealed for aid and by 1850 had opened a millinery and dressmaking shop. Clint’s assistant, John Carmichael (see BME 2011), and his apprentice, John Allan, were also engravers and lithographers. His career was always turbulent, the Australian newspapers of the period littered with evidence of his various feuds and occasional lawsuits, but he took an active part in public life, assisting in organising insurance societies, e.g. The Mutual Fire Insurance Company (1840). “Although Raphael Clint was a man of quick temper, poor judgment and little business sense, he was a talented craftsman whose work endures, illustrating in its range and quality one field of cultural development at this period in the colony” (ADB).
3 Bedford Street, Strand — 1817
19 Maxwell Street, Glasgow — 1821
7 Cecil Street, Strand — 1823-1829
Bridgewater, Tasmania — 1833-1834
36 Hunter Street, Sydney — 1834-1835
12 King Street, Sydney — 1835
15 Bridge Street, Sydney — 1836-1837
George Street, Sydney — 1840-1842
— Abercrombie Lane, George Street, Sydney (workshop) — 1842
26 Hunter Street, Sydney — 1842-1845
457 George Street, Sydney — 1846-1847
Brougham Place, corner of Castlereagh Street — 1849
Apprentice: John Allan.
ADB. BM. DAAO. Graves (1901) (1905). NA. NLA. NLNZ. OB. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Mudie Forbes view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
Forbes Mudie
MUDIE, Forbes (1814-1846) — London & Sydney
Printer and lithographer. Lithographed Plan of the allotments at Craigend Darlinghurst and Plan of forty seven allotments called Glenhurst at Darling Point to be sold by auction 1841, both for Raphael Clint.
Mudie was born at Nottingham and baptised at St. Mary 22 Aug 1814, a son of the peripatetic Scottish printer George Mudie and his wife Jesse (Janet) Esplin. He was working in London in 1836 and married Annabella Weddell (1813?-1901), Edinburgh-born daughter of a Custom House officer, at St. Bride Fleet Street, on 4 Aug 1839. He, his wife and an infant daughter arrived in Australia on board the Alfred 19 Jan 1841. His daughter, about whom he complained of the lack of provisions he had paid for on board, died the following year, but there were two more children born before his own death on 10 Aug 1846. He had been suffering for five weeks after a severe fall from his horse and never recovered. He was buried two days later at Glebe Cemetery, East Maitland, New South Wales, aged thirty-two.
44 Holywell Street, Strand — 1839
Early’s Terrace, West Maitland, New South Wales — 1846
Tooley.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Burslem Francis Henry (1807-1888)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BURSLEM, Francis Henry (1807-1888) — Adelaide
Surveyor, land-agent, civil engineer and lithographer. Produced Chart of Port Adelaide, South Australia 1839 — engraved by William Moffitt; J. McLaren, Plan of the country south of Adelaide 1840; A. H. Davis, Plan of the Angas special survey 1842; Plan of the Green Hills 1842; Outline plan of the Milner special survey 1843; Outline sketch of the settled portions of the colony 1842 1843; Outline plan of the Barossa special survey 1843; Outline plan of Rapid Bay 1845; Plan of mineral lands in Kapunda Mines District, South Australia 1846 and similar mining maps.
Born 24 Jan 1807 and baptised 24 Feb 1807 at St. John, Portsmouth, Hampshire — the son of James Godolphin Burslem, an Irish-born artillery officer, and his wife Nancy Dent. Francis Burslem followed his father into the army. He married (1) Sarah Richardson at Stockport 19 Apr 1828 — according to a later report in the Stockport Advertiser, reprinted in many English newspapers as well as the Moreton Bay Courier 11 Sep 1860, his wife was the daughter of a local confectioner with whom he lived in some style until his money ran out, and then, ostracised by family and fellow officers, he opened his own confectionery shop which soon failed. He abandoned his wife, who died shortly thereafter, but took their son, also Francis Henry Burslem (1830-1901), to Australia, where he gave him away to a stockman “to make the best of him”. The son, alerted by advertisements in the Australian press, turned up in Stockport in 1860 to claim an inheritance from the Richardson family. Burslem married (2) Anne Boodle at Liverpool 10 Jul 1834. He served as a soldier in Australia in 1829 and later became a draughtsman in the Surveyor General’s Office 1 Jan 1839. At Adelaide he was unsuccessful in suing a man called Lowe over the purchase of a parcel of land in 1848. In 1849 he appeared on behalf of the Australian Mining Association in another court case. Burslem worked in Adelaide until the early 1850s and Burslem Hill and Burslem Creek are said to be named after him. He subsequently moved to Tasmania, marrying (3) Susan Fynes (d.1862) at Hobart 12 Oct 1852. He both farmed and continued surveying and appears to have run a hotel at one time, serving on local committees and acting as local registrar. He married (4) Anne Elizabeth Anderson (1826-1878) at Hobart 7 Apr 1862. Burslem then moved to Auckland, New Zealand, working as a surveyor and civil engineer, particularly involved in the “Thames Waterworks” scheme for supplying Auckland with water. He retired to New South Wales in 1883, where he died at Woollahra in 1888.
Morphett Street, Adelaide — 1842
Rundle Street, Adelaide — 1846-1847
Port Cygnet, Tasmania — 1855-1863
Grafton Road, Auckland — 1881-1883
Rushcutter’s Bay, Sydney — 1885
46 Denison Street, Woollahra, Sydney — 1888
BNA. COPAC. LG. NLA. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Burslem Francis Henry (1807-1888)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BURSLEM, Francis Henry (1807-1888) — Adelaide
Surveyor, land-agent, civil engineer and lithographer. Produced Chart of Port Adelaide, South Australia 1839 — engraved by William Moffitt; J. McLaren, Plan of the country south of Adelaide 1840; A. H. Davis, Plan of the Angas special survey 1842; Plan of the Green Hills 1842; Outline plan of the Milner special survey 1843; Outline sketch of the settled portions of the colony 1842 1843; Outline plan of the Barossa special survey 1843; Outline plan of Rapid Bay 1845; Plan of mineral lands in Kapunda Mines District, South Australia 1846 and similar mining maps.
Born 24 Jan 1807 and baptised 24 Feb 1807 at St. John, Portsmouth, Hampshire — the son of James Godolphin Burslem, an Irish-born artillery officer, and his wife Nancy Dent. Francis Burslem followed his father into the army. He married (1) Sarah Richardson at Stockport 19 Apr 1828 — according to a later report in the Stockport Advertiser, reprinted in many English newspapers as well as the Moreton Bay Courier 11 Sep 1860, his wife was the daughter of a local confectioner with whom he lived in some style until his money ran out, and then, ostracised by family and fellow officers, he opened his own confectionery shop which soon failed. He abandoned his wife, who died shortly thereafter, but took their son, also Francis Henry Burslem (1830-1901), to Australia, where he gave him away to a stockman “to make the best of him”. The son, alerted by advertisements in the Australian press, turned up in Stockport in 1860 to claim an inheritance from the Richardson family. Burslem married (2) Anne Boodle at Liverpool 10 Jul 1834. He served as a soldier in Australia in 1829 and later became a draughtsman in the Surveyor General’s Office 1 Jan 1839. At Adelaide he was unsuccessful in suing a man called Lowe over the purchase of a parcel of land in 1848. In 1849 he appeared on behalf of the Australian Mining Association in another court case. Burslem worked in Adelaide until the early 1850s and Burslem Hill and Burslem Creek are said to be named after him. He subsequently moved to Tasmania, marrying (3) Susan Fynes (d.1862) at Hobart 12 Oct 1852. He both farmed and continued surveying and appears to have run a hotel at one time, serving on local committees and acting as local registrar. He married (4) Anne Elizabeth Anderson (1826-1878) at Hobart 7 Apr 1862. Burslem then moved to Auckland, New Zealand, working as a surveyor and civil engineer, particularly involved in the “Thames Waterworks” scheme for supplying Auckland with water. He retired to New South Wales in 1883, where he died at Woollahra in 1888.
Morphett Street, Adelaide — 1842
Rundle Street, Adelaide — 1846-1847
Port Cygnet, Tasmania — 1855-1863
Grafton Road, Auckland — 1881-1883
Rushcutter’s Bay, Sydney — 1885
46 Denison Street, Woollahra, Sydney — 1888
BNA. COPAC. LG. NLA. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Penman John 1817-1900view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
PENMAN, John (1817-1900) — Adelaide
Engraver, lithographer and copperplate printer. Working in partnership with William Galbraith as “Penman & Galbraith”, he produced Robert Stephenson, Map of the county of Adelaide and surrounding districts 1850; Plan of the city of Adelaide 1850 — “Messrs Penman and Galbraith, we perceive, have lately lithographed a plan of the city, which has been coloured and mounted by Messrs Calvert and Waddy, at their Artists’ Establishment, King William-street. The plan should be an indispensable companion to every one, and it is mounted in true London style, rendering it portable in the waistcoat-pocket without injury” (Adelaide Times, 10 Oct 1850); Richard T. Hill, Chart of Port Elliot 1850; Robert Stephenson, Hundred of Port Gawler 1854; William Gray, Plan of the township of Port Onkaparinga and vicinity 1859, etc. Also known for music, views, etc.
Born in Glasgow 28 Jul 1817, the son of Andrew Penman, a Trongate bookseller, and his wife Christian Niven. Penman is reported to have been apprenticed to the Glasgow lithographers “Allen & Fergusson”, later moving to Liverpool and then London. The collapse of the railway boom saw him out of work, so he and a colleague, William Galbraith, decided to emigrate. They decided on South Australia after reading John Stephens — probably his pamphlet “South Australia” (1839) rather than his full-length “Land of promise” of the same year. Galbraith recalled in 1911 that the deciding factor was that Stephens “mentioned that butter was so plentiful and so cheap that people were in the habit of greasing their boots with it …. Now, as butter at that time in London was looked upon as quite a luxury, we really thought that, other things being equal. South Australia must have a touch of Paradise about it” (Evening Journal, 17 Feb 1911). On 31 Jul 1848 Penman and Galbraith set sail in the Hooghly from London, reaching Adelaide on 5 December. They acquired a small press from an amateur artist and lithographer and set up in Peacock’s Buildings, initially in company with James Stirling Campbell, producing “Maps, plans, drawings of machinery, architectural and landscape drawings, circulars, bills of lading, bills of exchange, bill heads, scrip, labels, business and visiting cards, &c., lithographed in every variety of style with neatness and dispatch” (South Australian, 8 Feb 1850). The partners acquired over ninety acres of suburban land in Adelaide in December 1853. Penman married Elizabeth Vout (d.1916) of Sydney at Kent Town 21 Apr 1869 — a daughter died at the age of seventeen months in 1875, but several other children survived to adulthood. The partnership with Galbraith was formally ended in 1885 and on 2 Apr 1887 Penman auctioned off his lithographic equipment, as well as his household furniture and effects, apparently to settle his debts. He died 11 Oct 1900 and was buried 12 Oct 1900 — “a good husband and loving father. Beloved and respected by all who knew him” (Adelaide Express & Telegraph, 13 Oct 1900).
20 Clyde Terrace, Glasgow — 1834
Peacock’s Buildings, Adelaide — 1849
Grenfell Street, corner of King William Street, Adelaide — 1849-1850
Pirie Street, Adelaide — 1851
60 Rundle Street, Adelaide — 1862
Currie Street, Adelaide — 1876-1878
Charles Street, Norwood (home) — 1876
Halifax Street, Adelaide (home) — 1878-1881
Tavistock Street, Adelaide — 1887
Rundle Street, Kent Town, Adelaide — 1893-1900
COPAC. DAAO. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Ham Thomas (1821-1870)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
HAM, Thomas (1821-1870) — Melbourne & Brisbane
Engraver, lithographer, photographer, publisher, land & commission agent. Produced Alexander James Skene, Map of the district of Geelong 1845; Map of New South Wales, shewing at a glance the recent inland tour of Doctor Leichardt 1846; To be published by subscription, to appear in December : a map of Australia Felix … compiled, engraved and published by Thomas Ham 1847; A map of Australia Felix 1847; Map of the purchased and measured lands, counties, parishes, etc. of the Melbourne and Geelong districts 1849; Ham’s squatting map of Victoria (Port Phillip District, New South Wales) 1851, with an accompanying booklet; Map of the suburban lands of the city of Melbourne 1852; Hams’ map of the routes to the Mt. Alexander & Ballarat gold diggings 1852; Map of settled district of Melbourne 1853; Plan of the city of Melbourne embracing Collingwood, South Melbourne and Sandridge 1854 — engraved by William Knight and published with a book of reference by Cyrus Mason; T. Watson, Suburban & country allotments in the parishes of Meerai, Yarpturk, Cooramook & Bullanbull 1856; A. R. Morrison, Plan of the Township of Wallan Wallan 1857; R. W. Larritt, The township of Axedale, & suburban allotments 1858; T. W. Dawson, Country lands in the parishes of Bundalaguah & Nuntin, Gippsland 1858; sheets for the Geological Survey of Victoria 1860-1862; J. W. Buxton, The new map of Queensland compiled from the most reliable and recent public & private surveys 1863; Slater’s pocket map of the city of Brisbane 1865; Electoral district of Port Curtis, Queensland and many other electoral maps 1865; Colony of Queensland, Australia 1865; Map shewing position of Queensland to the Australian colonies, India, China &c. &c. with existing & proposed telegraphic & steam routes 1865; “Atlas of the colony of Queensland” 1866; E. P. Bedwell, Wide Bay Bar 1868 — with Knight; Map of the Kennedy District, Northern Queensland 1868; Map of Queensland. Compiled by Thomas Ham 1871, etc. He also engraved prints, banknotes and the first Victorian postage stamps. He published, with his brothers, the “Illustrated Australian Magazine”, the first of its kind in Australia.
Born 17 Feb 1821 at Teignmouth in Devon, the son of the Reverend John Ham, a Baptist minister, and his wife Ann Job, née Tonkin. He was baptised Thomas Job Ham (by his father) at the Cannon Street Meeting House in Birmingham 11 Nov 1837. The family emigrated to Australia in the Dublin, arriving on 13 Dec 1842, where John Ham became the first minister of the Collins Street Baptist Church. Trained as an engraver in Birmingham, Thomas Ham soon established an engraving and lithography business in Melbourne, advertising a full range of engraving services in the Port Phillip Gazette 8 Feb 1843. Press reports of a drunken spree in March 1843 were rapidly corrected — the real culprit was one Thomas Hand. He advertised as a plain and ornamental engraver in the Melbourne Weekly Courier 4 Jan 1844, offering copper-plate, letterpress and lithographic printing — “Views of public buildings, bank notes, cheques, drafts, maps, plans, charts &c. circulars, bill heads, address, visiting, and wedding cards, in the first style of workmanship. Door and window plates of every description. arms, crests, cyphers, mottoes, and inscriptions engraved on plate, seals, jewellery, &c., &c., &c”. He announced a return to Collins Street in January 1845, stressing the “cash only” nature of his low prices. He had added seal-cutting and die-sinking to his range of services by July 1845, at which time he was increasingly advertising for map and chart work. In 1846-1847 he repeatedly canvassed for subscriptions for his map of Australia Felix, to be engraved on a large copper plate and “printed on the best Imperial drawing paper, and neatly coloured, the work forming a valuable acquisition to the Australian Colonist. As the object of the compiler is to publish it at the lowest remunerating price, he has determined to adopt the plan of publishing by subscription, being able, by this system, to issue the map at a much lower rate than he otherwise could. The price will be — to subscribers — 12s.6d — paid on delivery. Non-subscribers — 16s.0d — ditto” (Melbourne Argus, 27 Oct 1846, et seq). Publication was delayed for the insertion of additional information, but the map appeared in the spring of 1847 and was followed by a revised second edition in 1849. A much larger map of the Melbourne and Geelong area was announced as in preparation in April 1848, although Ham announced, “As I do not feel inclined to publish at a loss, I propose to defer the execution of it until I have sufficient copies subscribed for to pay the expenses, which in a map requiring such accuracy as this, are considerable; and as soon as the required number of subscribers is entered, the engraving will be immediately commenced. In order to place the prices within the reach of all classes, I publish at 21s. to subscribers; 30s. non-subscribers” (Melbourne Argus, 26 May 1848). In 1849 he was advertising forgery proof plates made by machine engraving. He was joined by a brother Jabez in 1850, the business becoming “Ham Brothers” for a short period, with a branch in Sydney — the partnership was formally dissolved 5 Jul 1853. He married Mary Jull Collings (1827-1903), originally from West Malling in Kent and daughter of John Collings, a man who ran a circulating library for his neighbours from his own home, at Melbourne 18 Sep 1851. In July 1853 Ham announced that he had become a “land agent, and colonial map publisher” at his new premises in Swanston Street, “feeling assured that his eleven years’ experience as colonial map publisher will enable him materially to serve his fellow-colonists, more especially gold-diggers and new arrivals, by aiding them in the selection of land and other properly. Thomas Ham is now prepared to undertake any agency with which he may be favored, as he has secured the services of an efficient surveying staff, in order to facilitate the arrangements of parties disposing of their properties through his office … A series of parish and township plans will be issued every month, in order to supply the public with all available information, at as low a price as possible” (The Argus, 18 Jul 1853). In December 1857 he joined the Victorian Geological Survey Office, where he had charge of the lithography of sale plans. He appeared as an expert witness in forgery trial in July 1858, stating that he had undertaken engraving “more or less for all the old-established banks, but especially for the Union and the New South Wales” (The Argus, 21 Jul 1858). In 1861 he moved to Brisbane, announcing his arrival in the Brisbane Courier 25 Jul 1861 — “Thomas Ham, of Melbourne (formerly engraver and lithographer to the Colonial and English banks, and to the government of Victoria) begs to intimate that he has commenced the practice of his profession in every branch of the engraving and lithographic art”. With his future brother-in-law, William Knight, he formed “Thomas Ham & Co.”, general engravers, lithographic artists, printers and photographers — “Mr. Ham, so well known as the engraver and compiler of Ham’s Squatting Map of Victoria, has commenced his art in this city, and is provided with every description of copper-plate and lithographic machinery. Associated in business’ with Mr. Ham is Mr. William Knight, photographer, who brings with him a high reputation as a successful operator in every branch of the photographic art. These gentlemen have not as yet had opportunities of furnishing specimens to the public, but competent judges affirm that their productions will excel anything hitherto produced in the colony. We will not say a word about the success of these gentlemen, believing that it will be steady and certain: for when we have an establishment in full operation among us, carrying on the combined operations of engraving, lithography, and photography, we feel certain that the public will appreciate the convenience, and retain to itself the services of experienced professional men” (The Courier, 25 Jul 1861). The partnership was dissolved in November 1868. In 1862, Ham stood in for a period as the Secretary of the Queensland Insurance Company, until a permanent successor could be found. He became Lithographer to the Survey Office and was appointed Chief Engraver to the Government Printing Office in December 1866. He was involved as a director of the Victoria Cotton Company in its plans to grow cotton in Queensland and later developed sugar plantations on the Albert River, buying a farm at Redcliffe. He resigned as a director of the Pimpana Sugar Company in February 1867 and sold his 425-acre sugar estate in 1868. He died at Brisbane 8 Mar 1870 “after two and a half years suffering borne with Christian resignation”, and is buried at Paddington Cemetery. “Mr. Thomas Ham, passed away this week. Mr. Ham was for some years in business as an engraver, and since the organisation of a lithographic staff has held the appointment of Government engraver. The pioneer spirit was strong in Mr. Ham; he was amongst the first to take up land upon the Hotham and Albert rivers, where he engaged in cotton and sugar growing. At the time of his decease, he had a plantation at Redcliffe; he had the strongest faith in this country for the production of cotton and sugar, and followed his faith by works. Mr. Ham’s genial and unassuming nature won him a large circle of friends, by whom his loss will be severely felt” (The Queenslander, 12 Mar 1870). A later obituary of his widow recorded that “Her husband, Thomas Ham (eldest son of the Rev. John Ham, Baptist minister, Sydney), was the publisher of ‘Ham’s Magazine’, the first in Australia. He was also the first geographer in Australia, compiling maps for the Government of New South Wales, and had the contract (in 1849) for engraving and printing the first Victorian stamps. Mr. Ham was engraver and lithographer to the colonial and English banks, and the Government of Victoria. In 1861 Mr. Ham came to Queensland, and commenced the practice of his profession as engraver and lithographer, with a photographic branch attached; he also started sugar-growing on the Albert River. He afterwards accepted the position of engraver and lithographer to the Government. Mrs. Ham joined her husband in Brisbane in 1862, and although she never lost her love for England and English things, she preferred Queensland to Victoria” (The Queenslander, 14 Mar 1903).
Collins Street, Melbourne — 1843
Collins Street East, Melbourne — 1844
Market Square, two doors from Hobson’s London Hotel, Melbourne — 1844
Collins Street, opposite the Melbourne Club House, Melbourne — 1845-1849
— Collingwood, Melbourne (home) — 1847-1848
Collins Street, opposite the Mechanics’ Hall, Melbourne — 1850-1851
Collins Street East, near the Mechanics’ Hall, Melbourne — 1851-1852
68 Collins Street East, Melbourne — 1853
35 Swanston Street, Melbourne — 1853-1854
85 Swanston Street, Melbourne — 1854-1855
45 Swanston Street, Melbourne — 1855
35 Swanston Street, Melbourne — 1858
Surveyor General’s Office, Melbourne — 1857
Public Lands Office, Melbourne — 1858
Queen Street, Brisbane — 1861
George Street, opposite the Courier office, Brisbane — 1862-1865
— Martin Street, Bowen Terrace, Brisbane (home) — 1870
ADB. Paul Ballard, “Thomas Ham, Melbourne map engraver and lithographer”, 1980. BM. John Wilton Collings, “Thomas Ham : pioneer engraver, publisher etc.”, 1943. COPAC. DAAO. NA. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Allan & Wigley see John Allen and William Hankinson Wigleyview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Allan John (fl.1845-1883)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
ALLAN, John (fl.1845-1883) — Sydney
Engraver, lithographer and printer. Produced Plan of township of Charleston : being part of the Farringdon Estate in the county of Murray ca.1846; Bathurst, Brisbane, Macquarie and numerous other maps for William Henry Wells, “A geographical dictionary, or gazetteer of the Australian colonies” 1848; Map shewing the roads in New South Wales 1852; Plan of allotments on the North Shore and township of North Sydney belonging to William Lithgow Esq.; Plan of Upper Paddington divided into allotments for sale being part of the Point Piper Estate and numerous similar undated local building and auction plans; William Meadows Brownrigg, Plan of the mills, cloth factory and cottages adjoining the Queens Wharf, Parramatta 1853; and, in partnership with William Hankinson Wigley, trading as “Allan & Wigley”, C. E. Langley, Plan of Dunblane, part of the Camperdown estate 1855; Ferdinand Hamilton Reuss & J. L. Browne, Ellensville the property of H. G. Smith Esq. 1855; William Rutter, Plan of eligible villa sites and capital market gardens, portion of the Petersham Estate known as Marrickville to be sold by auction by Messrs. W. Dean & Co. 1855; Plan of a portion of the estate of Boat Alley the property of John Hawdon Esq to be sold by auction 1856; E. J. Bennett, Plan of the village of Hexham : County of Northumberland, New South Wales 1856; Francis Clarke, Map of the city of Sydney, New South Wales 1857; Map of the proposed seven united provinces of eastern Australia 1857; John Russell, Sands & Kenny’s map of Sydney and its environs 1858; J. Roche Ardill, Plan of Braidwood 1859; Samuel Jackson, Plan of the eastern division of Regentville, known as Frogmore to be sold by order of the mortgagees 1861; Reuss & Browne, The Drainwell Estate including the Eastern Division of Parramatta South 1863; T. W. Bowden, Plan of Riverstone near Windsor to be sold by auction 1864, etc. Also produced music, seals, views by Samuel Thomas Gill, etc.
Allan was the son of Alexander Allan of Bonnygate, Cupar, Fifeshire, Scotland, whose death in June 1863 was announced in the Sydney Morning Herald 21 Aug 1863 — and may probably be identified with the John Allan born 9 Apr 1822 and baptised at Dysart, Fife, 5 May 1822 — the son of Alexander Allan and his wife Mary Skinner. He commenced in business with an announcement in the same newspaper on 1 Jul 1845, advertising seal and copperplate engraving, as well as lithographic printing. He advertised his engraving business in “Low’s directory of the city and district of Sydney” for 1846 in the following terms: “Engraving. John Allan, in returning his sincere thanks to his friends and the public generally, for past favors, respectfully solicits a continuance of the same. J. A. having served his apprenticeship to Mr. Clint [Raphael Clint], and being a practical workman in several branches, assures those parties who have not yet favoured him with their orders, that they may rely upon having them executed in a superior manner. Stone, seal and copper plate engraving and printing, executed in the first style. Plans, labels, bill-heads, etc., lithographed. Maps, prints, etc., mounted and varnished with neatness and despatch”. His move to “more eligible premises” in Hunter Street was announced in the Sydney Morning Herald 8 Apr 1847. He traded with William Hankinson Wigley as “Allan & Wigley” from 1 Jan 1855 to the end of 1867. The firm’s move from Bridge Street to George Street was announced in The Empire and other newspapers in July 1858. The partnership was dissolved 1 Jan 1868, Wigley taking over and changing the name to “W. H. Wigley & Co”. In later life Allan concentrated on seal engraving and died at Sydney 22 Oct 1883, reportedly aged fifty-seven. He was buried at Rookwood.
York Street, near the Barrack Gate, Sydney — 1845
Bridge Street, Sydney — 1846
81 King Street West, Sydney — 1846-1847
2 Hunter Street, Sydney — 1847
2 Bridge Street, Sydney — 1850-1852
23 Bridge Street, Sydney — 1855-1858
297 George Street, opposite the Empire Office, Sydney — 1858-1867
– 287 Macquarie Street, Sydney (home) — 1861
84 Upper Fort Street, Sydney — 1883
BM. NLA. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Wigley William Hankinson view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
WIGLEY, William Hankinson (1831?-1870) — Sydney
Lithographer and engraver. For work produced as “Allan & Wigley”, see John Allan.
Born in or about 1831 and baptised 8 Feb 1833 at St. Peter, Liverpool, the son of William Ayscough Wigley, gentleman, of Blair Street, Toxteth Park, and his wife Margaret Worthington, who had married in 1829. He was trading with John Allan as “Allan & Wigley” from 1 Jan 1855 to 1867. The firm’s move from Bridge Street to George Street was announced in The Empire and other newspapers in July 1858. The partnership was dissolved 1 Jan 1868, Wigley taking over and trading as “W. H. Wigley & Co”. He had joined Masonic Lodge 260 at Sydney 16 Nov 1857. He was declared insolvent in September 1870, and bankruptcy proceedings were still ongoing at the time of his death. He died 30 Dec 1870 and was buried at Rookwood aged thirty-nine.
23 Bridge Street, Sydney — 1855-1858
297 George Street, opposite the Empire Office, Sydney — 1858-1870
NLA. Niedorf. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
GALBRAITH William (1822-1911) — Adelaideview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
GALBRAITH, William (1822-1911) — Adelaide
Lithographer. Worked in partnership with John Penman as “Penman & Galbraith”, producing Robert Stephenson, Map of the county of Adelaide and surrounding districts 1850; Plan of the city of Adelaide 1851; Robert Stephenson, Hundred of Port Gawler 1854; William Gray, Plan of the township of Port Onkaparinga and vicinity 1859, etc. Also known for music, views, etc.
The son of William Galbraith and his wife Eliza. According to his own account, published in the Adelaide Evening Journal 17 Feb 1911, Galbraith was born in Glasgow 20 Feb 1822. “About the middle of the year 1848 I felt very much run down, as I had worked nearly the whole of the year 1847 at the rate of nine days a week, owing to the railway mania which attacked so many people in the old country. So when a friend, who was out of work at the time suggested emigration to Australia, I agreed at once. At first we had doubt about the colony to which it would be best for us to go, but a lucky chance put us in possession of a pamphlet [by John Stephens] concerning South Australia, in which the writer showed the great advantages which that province offered to emigrants in its healthy climate, fertile soil, and cheap cost of living. One point I well remember was that the writer mentioned that butter was so plentiful and so cheap that people were in the habit of greasing their boots with it … Now, as butter at that time in London was looked upon as quite a luxury, we really thought that, other things being equal, South Australia must have a touch of Paradise about it”. He and John Penman left Plymouth and arrived at Adelaide on the Hooghly 5 Dec 1848 and soon after acquired a lithographic press from an amateur printer. They set up the printing business of “Penman & Galbraith” in Grenfell Street. Galbraith married Janet Davie (1831?-1889) of Brownhill Creek 28 Jan 1852 at Adelaide. A brief partnership with William Macartney in Melbourne was ended 16 Jul 1853, with Galbraith returning to Adelaide in December of that year, resuming his partnership with Penman. They acquired over ninety acres of suburban land in Adelaide in that month. In April 1854 Galbraith was cleared of a charge of indecent assault, the jury having “no confidence whatever in the evidence adduced before them” (Geelong Advertiser, 21 Apr 1854). He acquired two parcels of land in Kent Town in 1862. The partners were fined in 1880 for printing liquor labels without the mandatory words “Bottled in South Australia” — the court case revealing that Galbraith’s son, also William Galbraith, was by now the manager of the firm. The partnership with Penman was formally dissolved on Penman’s retirement 30 Oct 1885, with Galbraith continuing for a time in partnership with his son. After his wife died aged fifty-eight 10 Nov 1889, he continued to live at his home in Charles Street, Norwood, with his two unmarried daughters. Galbraith died at home at the age of eighty-nine 16 Feb 1911.
71 Stockwell Street Closs, Lanark, Scotland — 1841
Grenfell Street, Adelaide — 1849
Pirie Street, Adelaide — 1851
60 Rundle Street, Adelaide — 1862
Gresham Street, Adelaide — 1885-1886
Charles Street, Norwood — 1889-1911
Census 1841. COPAC. DAAO. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
GIBBONS William Sydney (1825-1917)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
GIBBONS, William Sydney (1825-1917) — Melbourne
Lithographer, journalist, photographer, and analytical chemist. Lithographed and published Map of California from the latest authorities showing the whole of the Gold District ca.1850.
William Sydney (Sidney) Gibbons, generally known simply as Sydney Gibbons, was born in England 21 Jul 1825 and baptised at St. Peter Walworth, London, 15 May 1829 — the son of Benjamin Gibbons (1775-1861), a wholesale stationer of Grosvenor Place, and his wife Elizabeth Cave Hickman, who had married at Aylesbury in 1824. He was appointed collector and shipping editor of the Melbourne Argus in August 1847 and subsequently worked as a clerk in the Custom House at Melbourne 1847-1849. In 1850 he canvassed for the position of Secretary to the Melbourne Gas Company. In December 1852 he was awarded a first-class certificate and gold medal for the “best specimens of lithography, most of them adapted to useful purposes” at the Victorian Industrial Society Exhibition. He subsequently worked for the Melbourne Herald. An agreement to tutor the children of a settler named Duff in June 1855 ended in acrimony after two months and Gibbons was subsequently successful in suing his former employer in December of that year. He was one of the founders of the Melbourne Punch in August 1855, moving on to edit the Journal of Australasia in 1856. He concurrently practised as an analytical chemist, publishing pamphlets on kerosene, diet, water supply, etc., and founded the Victorian Institute for the Advancement of Science (later the Royal Society of Victoria). He also exhibited magnified photographs of microscopic objects, at various exhibitions, using some to illustrate his booklet, “Air and Water Poisoning in Melbourne” ca.1869. He married Annie Kipling in 1863, with whom he had six children. A lecture he gave on the potential dangers of kissing in 1877 was reported and commented on in the British press. He died at the age of ninety-two on 23 Jul 1917 and was buried at Carlton. Probate on his estate was granted 19 Oct 1917 — Victoria Wills and Probate Records.
5 Collins Street East, Melbourne — 1854-1882
Faraday House, Gipps Street East, East Melbourne (home) — 1882-1893
341 Royal Arcade, Bourke Street, Melbourne — 1893-1897
BNA. COPAC. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
GILKS Edward (1822-1897) view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
GILKS, Edward (1822-1897) — London & Melbourne
Wood engraver, artist, draughtsman and lithographer. Produced George Allen, Plan of the ruins of the late fire at Needingworth 1847; New England, formerly known as … Kruysfontein and Weltevrieden … in the colony of Natal 1848; The digger’s road guide to the gold mines of Victoria and the country extending 210 miles around Melbourne 1853; Peter Davis, Plan of villa allotments at South Richmond, on the Yarra bank 1853; Part of the county of Bourke in the colony of Victoria ca. 1855; Drainage area of the River Plenty ca. 1855; Thomas Watson, Country lands in the parishes of Codrington & Eumeralla 1855; James Bonwick, Victoria with parts of New South Wales & South Australia 1855; W. T. Dawson, Plan of the township of Stratford on the Avon River 1855; Thomas Couchman, Plan of allotments at East Elsternwick in the parish of Prahran 1855; James Reid, Plan of suburban and special country lands, in the parishes of Marong and Leichardt about 10 miles west of Sandhurst 1855 — and numerous similar plans of around this date for the Surveyor General’s Office; Percy F. Bromfield, Country allotments in the parish of Rochford between Lancefield & Drydens Station county of Bourke 1856; The township of Beechworth 1856; The village of Warringal in the parish of Keelbundora, county of Bourke 1858; The township of Gooramadda 1859; William Martin, Plan of the parish of Gruyere. County of Evelyn 1859; Plan of Melbourne and suburbs ca. 1860; work for the Geological Survey of Victoria ca. 1860; Town and suburban lots, township of Templestowe, parish of Bulleen 1862; Robert P. Whitworth, Gazetteer map of South Australia 1867; work for J. F. Nerevy, “The torrent of the French revolutions, or, a guide to the reading of the history of France from 1789 to 1873 : with chronological and genealogical maps of the different dynasties” 1873, etc. Also produced “Sylvan’s pictorial handbook to the English Lakes” 1847 and other similar and much praised guides — “plentifully besprinkled with engravings from original sketches by Thomas and Edward Gilks. Of the illustrations, especially, we can speak in the highest praise” (The Sun, 23 Jul 1847). Also known for views, portraits, cricketing scenes, valentine cards, etc.
Born in London 11 May 1822 and baptised 4 Jun 1822 at St. Dunstan, Stepney, the son of Thomas Gilks, a West India Dock official, and his wife Sarah Creasey, who had married in 1811. Recorded as living at 21 London Street, Ratcliff, when apprenticed (Stationers) as a lithographer to Thomas Dean 7 Jun 1836 (£20). In partnership in London as “T. &. E. Gilks” 1844-1851, with his elder brother Thomas Gilks (1813-1877), author of “The art of wood engraving” (1867) and “A sketch of the origin and progress of the art of wood-engraving” (1868). Free (Stationers) 5 Jun 1849. This partnership was declared bankrupt and formally dissolved 18 Dec 1851. There is an undated trade card in St. Bride Library. Gilks married Elizabeth Morton Grant (1827?-1890), an artist in wax, at Hackney in the autumn of 1852 and then emigrated to Australia, arriving on the Alipore 19 Jan 1853. He advertised himself as a “Plan and architectural draughtsman and lithographer … Estate and survey plans, views of buildings, &c., drawn and printed with neatness and despatch” (The Banner, 23 Aug 1853), winning a prize medal for lithography at the 1854 Melbourne Exhibition. In April 1855, he became a lithographic draughtsman in the Department of Crown Lands, resigning to set up his own business once more in April 1858. He soon became insolvent, but applied for his discharge in June 1859. He applied to exhibit a “screen with fragmentary illustrations of the processes of engraving, lithography, printing, and photographic art in Victoria” at the Victoria Exhibition in 1861 (The Herald, 23 Jul 1861). He became insolvent once more in 1862, listing as “Causes of insolvency: Loss on a contract, and unprofitable employment, inability to repay borrowed money, and pressure of creditors. Liabilities, £226 14s 10d; assets, £15; deficiency, £211 14s 10d” (Mount Alexander Mail, 28 Oct 1862). His estate was sequestered. His two-year-old daughter Alice died suddenly in 1864 — a doctor giving “it as his opinion that death was the result of congestion of and effusion into the brain, produced by teething” (The Argus, 20 Jul 1864). The theft of a number of chickens and ducks from his home in West Bank Terrace was reported in 1865. Gilks again applied to exhibit specimens of printing at the Intercolonial Exhibition of 1866. He became insolvent again in 1869 — “Causes of insolvency: Loss of situation under Government, want of employment, and losses sustained through publishing a lithographic work. Liabilities, £250 6s 6d; assets £83 10s; deficiency £166 16s 6d” (The Herald, 26 Jul 1869). A few days later he was charged with disobeying an order of the court in neglecting to appear to a summons concerning Nora Connor, to whom he owed £10 in wages. In 1874, Gilks sought to have his eldest son Percy Grant Gilks bound over to keep the peace, having threatened his father with an iron bar as well as ill using his mother — the boy agreed to leave the colony, although was living at home once more when he died young in 1885. Gilks worked for the Victorian Railways through the 1870s, but his estate was sequestered for insolvency yet again in July 1881 — a detailed examination of his continuing debts was given in The Herald, 19 Oct 1881. Gilks and his wife subsequently returned to England, where she died 27 Aug 1890 and he 22 Jun 1897, both at Wandsworth. Probate on his effects of £80 was not granted to his niece Annie Gilks until 9 Sep 1911. Some of his watercolour and pencil sketches of Melbourne are now in the Mitchell Library and an album of Australian trade-cards, tickets and flyers compiled by Gilks, presumably from his own designs, survives in the State Library of Victoria.
Crown Court, Threadneedle Street, London — 1844-1846
4 Fenchurch Buildings, Strand, London — 1846-1851
170 Fleet Street, London — 1851
93 Flinders Lane East, Melbourne — 1853
66 Hanover Street, Collingwood — 1856
84 Little Collins Street West, Melbourne — 1858
Swanston Street, Melbourne — 1860
Douglas Parade, Williamstown — 1862
West Bank Terrace, Richmond — 1865-1870
Bulleen Road, Kew — 1870
Cotham Road, Kew — 1871
Hull Street, Richmond — 1873-1874
Clifton Street, Richmond — 1876
1 Park Hill Terrace, Hoddle Street, East Melbourne — 1878
3 Wellington Terrace, East Melbourne — 1881-1884
42 Cologne Road, Battersea, London — 1890
19 Salcott Road, Wandsworth Common, London — 1897
BM. BNA. Census 1841-1851. COPAC. DAAO. Engen (1985). LG. NLA. Smith (Victorian). Tooley. Trove. Twyman. Wakeman & Bridson.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Park Robert view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
PARK, Robert (1812-1870) — Wellington NZ
Surveyor, artist and lithographer. Produced Plan of Wades Town adjoining the city of Wellington, New Zealand, the property of Messrs. Watt & Wade, laid out in building lots 1841 — lithographed by Thomas Bluett; Plan of the town of Nelson, New Zealand 1842; Mr. G. Young’s claim, Wellington (ms) 1843; Map of Rangitiki Block on Cook’s Straits. Made partly from actual survey (ms); Survey of Waipukurau (ms) 1852; Map of district between Nelson Haven and Cloudy Bay (ms) 1859; Plan of the town of Ashburton 1863, etc. Also lithographed a view of the village of Richmond captioned “The first lithograph executed in Wellington in the year 1842”.
Born in Glasgow in October 1812, the son of Matthew Park and his wife Catherine Laing. He was brother to Patric Park (1811-1855), the sculptor. He married (1) Mary Anne Morgan (d.1848) at Bristol 8 Aug 1837, (2) Terenui (d.1850), daughter of Te Rangiahuta and Te Angiotau, and (3) Marion Hart (1822-1891). He is said to have trained under Isambard Kingdom Brunel as an engineer and arrived at Port Nicholson on the Cuba in 1839 with the surveying staff of the New Zealand Company. In 1842 he was appointed town surveyor to Wellington and in 1850 government surveyor to the whole of the Wellington District. By 1858 he held freeholds in Bolton Street and Oriental Terrace. After standing unsuccessfully for parliament, he moved to Canterbury, farming at Winchmore in winter, and surveying for the provincial government in summer. He died 10 Mar 1870 at Cranmer Square, Christchurch, and was buried at Addington Cemetery.
Wellington — 1842
Wellington Terrace, Wellington — 1844-1849
Kumutoto Street, Port Nicholson — 1850-1852
Winchmore Station, Ashburton — 1868
NA. NLNZ. Tooley.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
PETTINGELL Joseph (1799-1859)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
PETTINGELL, Joseph (1799-1859) — Sydney
Tailor; law stationer & lithographer. Produced Leitrim in the district of the city of Sydney about a quarter of a mile from the boundary stone 1843.
Joseph Pettingell is reported to have been born both at Barkway, Hertfordshire, and at Fincham, Norfolk, in either case on 3 Jul 1799. He married Marianne (Mary Ann) Jones (1800?-1890) 6 Jul 1820 at St. George Bloomsbury in London. A partnership in Mount Street, London, with Thomas Evans and William Pettingell, as tailors and breeches-makers was formally dissolved 26 Jul 1833. He journeyed to Australia, travelling under his wife’s mother’s maiden name of Linden, on the Thomas Laurie, leaving London 17 Mar 1834 and arriving in Hobart 4 Sep 1834. His illustrated journal from the voyage survives in the National Library of Australia (MS 10126) — it records other passengers, the weather, the crew, shipboard meals, life in Hobart, etc. He immediately set up a continuation of his London business as a tailor and breeches-maker, advertising his work in London for the royal family, the nobility, and officers of the Royal Horse Guards. He offered his apparently commodious premises in Campbell Street for sale in May 1835 before moving to Argyle Street. In September of that year, his wife announced the opening of her boarding school for young ladies and it was from her new address in Brisbane Street that Joseph Pettingell offered a chart of the coast of New Holland in April 1836. In August 1836 Pettingell was appointed postmaster at Evandale. By 1837, if not earlier, the Pettingells were running two separate schools for boys and girls at Evandale, but Joseph became insolvent and was imprisoned for debt at Launceston in September of that year. He lost his position as postmaster, but appears to have been released from prison by March 1838. Six months later he arrived in Sydney and in December 1838 he announced that he was to open a law stationery office there. His wife and four of their children sailed from Tasmania to join him at the end of January 1839. The Sydney Monitor 16 Aug 1839 noted that “Mr. Pettingale is a law-stationer, and emigrated to the colony recently. He cannot afford at present, to pay clerks, and his daughters, much to their credit, employ their leisure hours in engrossing for their father, and which art they perform in a masterly manner”. In the same month Pettingell added the occupation of surveyors’ draughtsman to his talents and announced with extensive advertising that he “undertakes to copy plans of estates &c., from the rough drawing or otherwise to any size, either colored or plain, equal to any done in the colony”. With a move to Pitt Street in early 1840 he was able to add lithography to his other activities, announcing that clients as far afield as New Zealand could favour him with “drawing and colouring their plans, on any scale, with neatness and expedition, as also in lithographing the same” (Sydney Monitor, 5 Feb 1840). He was bankrupted again in June 1842. He successfully sued someone who owed him a great deal of money in 1843 and in 1844 re-emerged, working for a firm of solicitors and offering evening classes in writing, engrossing, etc. He died 13 Jan 1859 and was buried 15 Jan 1859 at Camperdown Cemetery.
Mount Street, Grosvenor Square, London — 1827-1833
15 Campbell Street, Hobart — 1834-1835
Argyle Street, Hobart — 1835
16 Brisbane Street, Hobart — 1836
Prospect House, Evandale — 1836
8 Josephson’s Terrace, Elizabeth Street North, Sydney — 1839
15 Phillip Street, Sydney — 1839-1840
Pitt Street South, Sydney — 1840-1842
343 Elizabeth Street, Sydney — 1859
LG. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
PHILP James Buckingham (1830-1897)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
PHILP, James Buckingham (1830-1897) — Melbourne, New York & Washington
Lithographer, photo-lithographer, and artist. Produced Frederick Proeschel, Pocket map of the roads to all the mines in Victoria 1853; Map of the roads to all gold mines in Victoria 1853 – a pirated copy of the previous map; Map of Melbourne 1853, for Bonwick & Walsh; Village of Frankston at Kananook Creek 1854, and numerous other maps for the Surveyor General’s Office, e.g. Electoral district of Warrnambool 1855; Henry Morres, Suburban and country lots parish of Faraday 1855; Joseph W. Witty, Plan of the Agricultural Reserve Tarrawingee 1855; R. W. Larritt, Building allotments at Kangaroo Flat 1855; A. M. Ross, Township of Lyons on the Spring Creek 1855; Thomas Couchman, Country lots on the Limestone Creek, parish of Yandoit 1856; Electoral district of Belfast 1856; The township of Sandridge 1856; similar maps for the Public Lands Office, e.g. The township of Barnawartha 1857; C. C. Horrel, East Melbourne 1858; further maps for the Office of Lands and Survey, e.g. G. A. Woods, Australia east coast 1862; Landsborough’s route from the Gulf of Carpentaria to the Worrego River 1862; C. G. Foljambe, Plan of the road from Te Awamutu to Mangahuka Creek 1864; Township of Grant, etc. Drew Nicaragua Ship Canal, Brito Harbor : showing the proposed breakwater and entrance to the canal 1873; The principal trunk railroads in the United States 1876 1877, for the U. S. Department of the Treasury; drew and co-published with John P. Anderson, The Potomac River from Great Falls to Point Lookout 1878 — the map lithographed by Curtis Burr Graham; The principal transportation lines west of Chicago, St. Louis & New Orleans, 1878 1879, for the U. S. Department of the Treasury. Also known for topographical views, music-covers, etc., including one executed in London in 1852 for “The Festive Quadrilles” composed by Mrs Franklin Philp, his sister-in-law.
Born in England at Falmouth, Cornwall, 25 Oct 1830, the son of James Philp (1800-1887), a commercial traveller in the stationery trade, and his wife Jane Gluyas (1796-1879), who had married at Falmouth in 1824. He was named for his uncle, James Silk Buckingham (1786-1855), the well-known author, journalist and traveller, and cousin to the painter James George Philp (1816-1885). Philp trained as a lithographer in London from 1846 and was recorded there as a lithographic artist, resident with his mother, an elder brother Franklin Philp (1826?-1887) who was a stationer, etc., in 1851. He was briefly in partnership with his brother, co-publishing Thomas Dalby Iago, “Rope-making made easy, for the abatement of shipwrecks” in 1852. He then emigrated to Australia, arriving on the Arrogant, and was firmly established in Melbourne by April 1853, attending a meeting to propose a new Fine Arts Society in April (The Argus, 26 Apr 1853) and having opened a stationery business by October of that year (The Argus, 29 Oct 1853). His piracy of Frederick Prosechel’s gold mines map was much resented by Proeschel, who complained vigorously, but the lack of Australian copyright legislation at that time precluded legal action (see www.copyrightcartography.org). In November 1853, Philp inserted a statement in the Argus, picked up on by the English press, notifying “his friends in London and elsewhere that he is alive and kicking and doing well”. By August 1854, he was evidently employed at the Surveyor General’s Office. He married (1) Anna Maria Rashleigh (1833-1867), also from Falmouth, at St. Peter’s Melbourne 4 Dec 1854. Newspaper reports of 1856-1865 testify to his enjoyment of and success at amateur theatricals. He was serving as Hon. Sec. of the Association of Lithographers and Engravers by 1858, and of the Melbourne Garrick Club 1858-1864. He is mentioned as a lithographer or photo-lithographer on a number of occasions in Victoria Parliamentary Papers 1858-1865 and was evidently engaged in official work until the end of that period. He testified at a forgery trial, along with Thomas Ham, in August 1858, referred to at that time as an “engraver in the Crown Lands Department” (The Age, 16 Aug 1858). In 1862 he was the leading figure in the establishment of the Civil Service Cricket Club and soon its Secretary. It caused something of a furore in the press when Philp fled the country under an assumed name in August 1865, fearing the imminent discovery of various frauds on the St. Kilda Penny Savings Bank, of which he was also Secretary. Further frauds on the other institutions in which he was involved soon came to light, although there was general sympathy for the wife and five young children he left behind. His effects, including “500 volumes of valuable books” (The Argus, 18 Aug 1865), were immediately auctioned off.  He was thought to have returned to England, but is next heard of in New York, where his wife and family were eventually able to join him. His wife died in Brooklyn 30 Dec 1867 and he subsequently married (2) Sarah Butler (1843-1913), with whom he had further children, on 8 Mar 1869. He was working as a lithographer in Brooklyn in 1870 – at that time resident with his new American wife and four of the children born in Australia. By 1880 the family had moved to Washington, D.C., where Philp was now employed as a draughtsman. He died in Washington 16 Feb 1897 and was buried there 19 Feb 1897 – his age precisely stated as “66y 3m 22d”.
27 Canonbury Villas, Islington, London — 1851
2 Copthall Buildings, Throgmorton Street, London — 1852
2 Ebden Cottages, Great Collins Street, Melbourne — 1853
8 Right-of-Way, 135 Little Bourke Street West, Melbourne — 1853
123 Little Collins Street East, two doors above Russell Street, Melbourne — 1853
Camden Cottage, Collingwood — 1857
2 Elmbank Terrace, Victoria Parade, Melbourne — 1859
Hoddle Street, East Melbourne — 1862
BNA. Census 1851, 1870, 1880. COPAC. DAAO. NLA. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
WAINWRIGHT William (1812-1889) view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
WAINWRIGHT, William (1812-1889) — Adelaide
Watchmaker, jeweller and engraver. Produced, as “Wainwright & Bock”, J. W. Pullen, Plan of part of Encounter Bay and Lakes Alexandrina and Albert 1840.
William Wainwright was baptised 4 Jan 1813 at Leiston, Suffolk — the son of William Wainwright and his wife Mary Catt. He married Hannah Garrard (1813-1891) at Aldeburgh 12 Nov 1833. He and his wife and their three children, the youngest of whom died on the voyage, left London in August 1838 aboard the Lloyds and arrived at Adelaide 1 Dec 1838. His future partner Alfred Bessell Bock was also a passenger. He is said to have installed the first glass show window in an Adelaide shop in 1839, in a building roofed with thatched reeds and built with expensive ornamental bricks which cost a shilling each (The Adelaide Mail, 6 Jun 1925). In 1840 the partners announced, “Engraving in all its branches. Messrs. Wainwright & Bock, watchmakers, jewellers, &c., Hindley-street, beg respectfully to inform the public that they are now prepared to execute any orders in the above line, in first rate style. Address cards, door plates, maps, charts, plans of towns, coffin plates, armorial bearings &c. &c to order” (Southern Australian, 22 Sep 1840) — an adjacent notice stated that copperplate printing could now be carried out “with neatness and dispatch” at the newspaper’s own office. “We observed that the admittance tickets to Mr McLaren’s dinner were neatly engraved by Wainwright & Bock, Hindley-street. This, we believe, is the first engraving which has been executed in the colony” (South Australian Register, 2 Jan 1841). The “Wainwright & Bock” partnership was formally dissolved 5 Jun 1841. Wainwright and his family subsequently took up farming, at various places in South Australia before moving to Victoria. Wainwright died in Melbourne 22 Jul 1889 at the age of seventy-seven — his wife died 7 Mar 1891.
Hindley Street, Adelaide — 1839-1841
NLA. Trove.
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
BOCK Alfred Bessell (1807-1889)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BOCK, Alfred Bessell (1807-1889) — Adelaide
Jeweller, watchmaker, engraver and lithographer. Produced, as “Wainwright & Bock”, with William Wainwright, J. W. Pullen, Plan of part of Encounter Bay and Lakes Alexandrina and Albert 1840.
Born in London 23 Apr 1807 and baptised (Alfred Bissell Bock) 1 Jun 1807 at St. Mary Lambeth, the son of John Thomas Bock and his wife Charlotte Bessell, who had married at Putney in 1798. Alfred Bock married Sarah Green (1809-1883) on 8 Nov 1829 at Wycombe, Buckinghamshire. With his wife and a son, Alfred William Bock (1833-1891), he departed England from Gravesend on 1 Aug 1838 aboard the Lloyds and arrived in Adelaide on 1 Dec 1838. His future partner William Wainwright and his family were also passengers. He commenced in business as a jeweller, but was soon working with Wainwright as “Wainwright & Bock”, until the partnership was formally dissolved 5 Jun 1841. By 1848 Bock was running a public house called “The Horseshoe” at Noarlunga, eighteen miles from Adelaide, and was also an agent for the South Australia Provincial Mining Company. He subsequently moved to Victoria and there ran various public houses and hotels, the last being Bock’s Hotel at Alfredton. He died at Ballarat, Victoria, in 1889. He was apparently not related to Alfred Bock (1835-1920), the photographer, portrait painter and engraver.
Nicholas Street, Hoxton, London — 1833
Gouger Street, Adelaide — 1839
Hindley Street, Adelaide — 1839-1841
NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Campbell & Macartney see James Stirling Campbell and William Macartneyview full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Campbell James Stirling (1823?-1855)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
CAMPBELL, James Stirling (1823?-1855) — Melbourne
Engraver, lithographer & copperplate printer. Produced Garrard & Shaw, Map of the town and suburbs of Geelong 1850 — with William Macartney; Plan of the town of Beaumaris near Brighton 1853; Edward Gilks, Map of Melbourne and Collingwood ca.1853; Plan of subdivision of the township of Bristol near Williamstown ca.1853; Plan of the township of Kensington situate in the parish of Mulgrave ca.1853; Wreck of the barque Sacramento : on Point Lonsdale ca.1854 — with James Fergusson; Map of Melbourne & Collingwood 1855 — with Fergusson; A plan of the entire parish of Prahan (advertised in the Melbourne Argus, 26 Jul 1856), etc.
Although it is known that Campbell’s mother’s maiden name was Scot, details of his early life are wanting. He first arrived in Australia at Adelaide with John Penman and William Galbraith in 1848, but soon removed to Melbourne where he traded as “Campbell & Macartney” with William Macartney 1850-1851, advertising that they had “commenced business … prepared to engrave and lithograph maps, plans, bills of lading, exchange, and acceptances, invoices and account tops, marriage, visiting and business cards, circulars, &c., &c. C. & M. having had upwards of ten years experience in the business in the principal cities of England and Scotland, feel assured that any work entrusted to them will in style and neatness give entire satisfaction to those who may honour them with their patronage. Family crests and mottoes found and engraved on plate or seals” (Melbourne Argus, 17 Jun 1850). Campbell married Elizabeth Carlow, daughter of a Scottish wool-merchant, 2 Oct 1851. The firm advertised for a lost pocket-book and bank draft in December 1851 and then extensively for lithographic printers from January to March 1852. By August of that year the partnership in Collins Street had become “Macartney & Galbraith”, with William Galbraith, but this partnership was dissolved 16 Jul 1853, with Campbell moving back into the premises to trade as “J. S. Campbell & Co.” 1853-1854; then as “Campbell & Fergusson”, with James Fergusson (1829-1888), 1854-1855. Campbell and Fergusson gave popular demonstrations of lithographic printing at the 1854 Victorian Exhibition. Campbell died at St. Kilda at the age of thirty-two 17 Sep 1855.
30 Collins Street West, Melbourne — 1850-1855
NLA. Niedorf. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
MASON Cyrus (1829-1915) view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
MASON, Cyrus (1829-1915) — Melbourne
Painter, draughtsman, engraver and lithographer. Produced Map of the city of Melbourne including the municipalities of Emerald Hill & Collingwood ca.1854; Plan of the village of West Pentridge and farms 1854; Thomas Ham, The squatting map of Victoria 1854; Map of the colony of Victoria 1854 — with Francis Stringer; Thomas Ham, Plan of the city of Melbourne embracing Collingwood, South Melbourne and Sandridge 1854 — engraved by William Knight; Thomas Oldham & T. E. Rawlinson, City of Melbourne harbour & railway accommodation 1855; Plan shewing the several contracts for the main trunk lines for which tenders were received 1858; Map of Victoria ca.1871, etc. Also produced “The practical lithographer : dedicated to painters and artists”, published by the Depot for Lithographic Artists’ Materials 1852; “The gold diggers portfolio : consisting of a series of sketches of the Victoria gold fields”, views, etc. 1854, etc.
Born in Camberwell, London, and baptised 20 May 1829 at Christ Church, Southwark, the son of John Mason, a cabinet-maker and upholsterer, and his wife Jane Eliza, née Browning. Apprenticed (Stationers) 1 July 1845 to Alfred James Waterlow (see BME 2011) for a fee of £70, his family then living in Paul Street, Finsbury. Recorded as an artist on the 1851 census return, living in Staines with his family. He married (1) Jane Elizabeth Hall of Burslem, Staffordshire, at Dartmouth, Devon, 27 Jan 1853, but no more is heard of her and he departed from Dartmouth for Australia on the James L. Bogert the very same day. He was recorded as a lithographer on his arrival in Melbourne 26 Apr 1853 and married (2) his fellow passenger Jessie Montagu (1825-1909), née Campbell, widow of George Conway Montagu, at St. Peter Melbourne 16 Jun 1853. In October 1853, Mason took over the Melbourne business of Thomas Ham, briefly in partnership until early 1854 with the engraver Francis Stringer (1816-1876), as “Stringer, Mason & Co.”. In October 1854 he advertised, “Maps, railway plans. Land sale plans, mechanical drawings, architectural designs, show cards, and every description of artistic work executed with precision and despatch. Business and visiting cards, invoice heads, bills of lading, acceptance and exchange receipt notes, &c., &c. A compendious map of Melbourne and suburbs, with book of reference; maps of the colony, &c., &c.” (The Age, 20 Oct 1854). From his new premises in Flinders Lane, he issued a pocket map of Victoria — “a very neatly executed lithographed pocket map … The novelty, of this publication is the arrangement of the map into circles of ten miles, so that travellers can, at a glance, ascertain distances and routes. It is tastefully coloured, and has the various districts and gold localities very distinctly set out” (The Age, 1 Feb 1855). He was also at this time awarded a silver medal for his “highly admired” lithographs at the Exhibition of the Victoria Industrial Society. Later that year he acquired Ham’s entire stock of maps and moved to Collins Street East. In August of that year he announced a new illustrated weekly paper, “The Illustrated Family News”, but the publication did not last very long. He subsequently joined the Victorian Railways as a lithographic draughtsman and set up its printing office. In 1863, he and William Robert Martin applied for a patent for “improvements in the method of producing spectral illusions”. Having left the Victorian Railways, Mason moved to Woods Point and became a mining agent and share-broker, acting as secretary to various gold-mining companies and as manager of the Columbia Quartz-Mining Company, the Emerald Quartz Mining Company, the Jericho Gold Mining Company, etc. He was declared insolvent in September 1867, having made losses at mining and also after guaranteeing the debts of the local Anglican Church. He returned to Melbourne and returned to working as a draughtsman as well as lecturing and working for an insurance company. In 1869 he founded a short-lived journal called the “The Building Times”. He later wrote and illustrated a small children’s book, “The Australian Christmas story book” 1871, producing a second number in 1872. In that year he re-joined the Victorian Railways, working there until his retirement on 15 Oct 1889, having reached the age of sixty. He exhibited widely as an artist and also served as Secretary of the Art Union of Victoria. In 1883 he founded the Buonarotti Club for the “cultivation and practice of art, literature and music among its members”, meeting at the old Melbourne Coffee House, but what was an apparently very jolly club petered out after Mason retired to the country. He retired to Tynong, before returning to Melbourne in about 1900. Mason died at East Melbourne aged eighty-six on 8 August 1915 and was buried at St. Kilda.
George Walk, Hoxton — 1841
Staines, Middlesex — 1851
35 Swanston Street, Melbourne — 1853-1855
38 Flinders Lane East, Melbourne — 1855
77 Collins Street East, Melbourne — 1855-1856
Wood’s Point, Melbourne — 1864-1866
Octavia Street, Melbourne — 1866-1879
100 Pitt Street, Melbourne — 1890
Post Office Chambers, Pitt Street, Melbourne — 1891
Florence Street, Mentone — 1903
Gordon Street, Sandringham — 1909
40 Nicholson Street, Fitzroy — 1913
Verona, Clarendon Street, East Melbourne — 1914-1915
BNA. Census 1841-1851, 1891. COPAC. DAAO. NLA. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
KNIGHT William (1828-1903)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
KNIGHT, William (1828-1903) — Southampton, Melbourne & Brisbane
Map engraver, lithographer, draughtsman and photographer. Produced Thomas Ham, Plan of the city of Melbourne embracing Collingwood, South Melbourne and Sandridge 1854; G. P. Heath, Plan of Rodd’s Harbour 1867, with Ham; Ham, District of the Gulf of Carpentaria, Northern Queensland 1868; T. R. Hacket, Map of the Gympie gold fields, Southern Queensland 1870; Sketch map of Cloudy Bay, British New Guinea 1889; Andrew Gibb Maitland, Geological sketch map of the Mackay district 1889; Rough sketch of 200 miles of the western portion of British New Guinea 1890; Map of the Egum Group, British New Guinea 1891, etc.
Born in Bermondsey 28 Feb 1828, a son of Thomas Knight, a wool-stapler, and his wife Charlotte Brooker. Knight was lodging in Southampton and working for the Ordnance Survey in 1851 with his fellow engraver James McKay. He subsequently emigrated to Australia, arriving in Victoria on the Hopewell 6 Feb 1853. He left Melbourne for Brisbane in 1861, joining up with Thomas Ham once more and specialising in photographic work. “Associated in business with Mr. Ham is Mr. William Knight, photographer, who brings with him a high reputation as a successful operator in every branch of the photographic art” (The Courier, 25 Jul 1861). He married Bertha Sarah Collings (1847-1929), Ham’s sister-in-law, 26 Nov 1868. Both men subsequently worked at the Government Printing Office, with Knight becoming Chief Engraver on Ham’s death in 1870. Knight retired in 1898 — “An illuminated address was on Saturday presented by the Government Printing Office employees to Mr. William Knight, chief engraver, who is retiring after thirty two years’ service” (The Queenslander, 31 Dec 1898). He died at his home in Bay View Terrace 27 Jul 1903 and was buried at Toowong Cemetery.
4 Onslow Road, Southampton — 1851
Collins Street, Melbourne — 1853-1861
Government Engraving & Lithographic Office, Brisbane — 1868-1898
Bay View Terrace, Eagle Junction, Brisbane, Queensland (home) — 1903
DAAO. Rod Fisher, “Boosting Brisbane : imprinting the colonial capital of Queensland”, 2009. NLA. Tooley. Trove
Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Browne Thomas (1816-1870)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
BROWNE, Thomas (1816-1870) — Hobart
Stationer, lithographer, photographer and surveyor. Produced Albert Synnot, Sketch of the gold country [California] 1850 for the Launceston Examiner, supplement of 30 Jan 1850; a map of Van Diemen’s Land, divided into electoral districts 1851; A. Haig, Wabbs Harbour ca.1860. Also produced music, views, etc.
Born 10 Mar 1816, but not baptised until 8 Feb 1824 at St. Dunstan Stepney, when he was baptised along with four brothers — sons of Thomas Browne, gentleman, and his wife Jane Rutherford, who had married in 1804. Reported to have been educated at Christ’s Hospital, he arrived in Tasmania in the 1830s, apparently working at Launceston for the printer and stationer Henry Dowling. He married Sarah Spicer (1822-1903), with whom he was to have fourteen children, at St. John, Launceston, 10 Mar 1840. Moving to Hobart in 1844, Browne opened his own stationery and printing business. In 1846 he added photography to his range of activities and by early in 1849 he was advertising portraits in coloured daguerreotypes, “having just received (direct from the first Daguerreotype Artist in London) a complete set of the recently invented material for colored Photographs, Mr. Browne is now enabled to execute these beautiful portraits in a style equal to any establishment in London or Paris”, as well as his more regular work — “every description of lithography in an unequalled manner. Illustrations or subjects in natural history, geology, anatomy, engineering, architecture, &c., either in single or double tinted lithography, microscope details, maps, plans, sections, commercial lithography, and every description of geometrical drawing, together with chrome lithography executed on stone, according to the method adopted in Germany, and printed with an effect little inferior to steel. N.B. Address cards, circulars, bills of exchange, bills of lading, cheque books, music, chemists’, perfumers’, and every other description of plain and fancy labels, &c., &c., printed in the London style, at London prices, in any number of colors” (Colonial Times, 5 Jan 1849). In February 1854, Browne was appointed City Surveyor and Director of Water Works at Hobart at a salary of £450 per annum. He was compelled to retire because of ill health in 1870, being awarded a handsome gratuity by the mayor and alderman. He died later that year on 23 Dec 1870 of liver disease, aged fifty-four, leaving a wife and a large family, including several young children. He was buried at St. David’s Park.
54 Liverpool Street, Hobart — 1844-1847
31 Maquarie Street, Hobart — 1848-1851
COPAC. DAAO. NA. NLA. Tooley. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Hillman Alfred (1807-1883)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
HILLMAN, Alfred (1807-1883) — Perth
Draughtsman, surveyor and lithographer. Produced Townsite of Perth in Western Australia from actual survey 1838 (ms); lithographed Robert Austin, Map shewing Asst. Surveyor R. Austin’s route into the interior of Western Australia 1854; Francis Thomas Gregory, Western Australia, exploration of the Murchison & Gascoyne Rivers 1859, etc.
Born at Deptford Dockyard 21 Nov 1807 and baptised 29 Dec 1807 at St. Mary Magdalene Woolwich — the son of James Hillman, a builder, and his wife Elizabeth Stone, who had married at Portsea in 1797. Hillman was sent out by Sir George Murray to fill an appointment of draughtsman in the Survey Office of Western Australia, arriving at Perth on the Atwick 26 Apr 1831. In October 1832 he was promoted to Assistant Surveyor and posted to Albany to replace Raphael Clint. A public memorial plaque erected in Perth in 1977 reads “during his service he prepared the first plan of Perth as it was to develop and largely as it still remains. He did much of the first surveying of Albany District, of the Avon Valley, and other country townsites. The route for the highway from Perth to Albany was opened up and surveyed by him. After residing in Albany from 1832 to 1840 he built and lived in Ivy Cottage on Lot 124 St. George’s Terrace”. A map showing Hillman’s expeditions in Western Australia in January, October and November 1835 is in NA. He was frequently involved in settling boundary disputes and promoted to First Assistant Surveyor in 1838, and subsequently Deputy Surveyor General. He married Elizabeth Purkis (1815-1901) at Perth 18 Nov 1840. He was appointed to the Executive Council of the colony in 1856. He left the Surveying Department in November 1863 on being appointed Sheriff of the Colony of Western Australia by the Governor. He retired in 1873. He died at Barnsbury, London, 31 Jan 1883 aged seventy-five and was buried at East Finchley 5 Feb 1883. Probate was granted to his widow, etc., in February — his personal estate in England valued at £1,064.5s.6d. “We feel sincere regret, in chronicling the decease, although at an advanced age, of an old resident of this colony, and one who was identified with its earliest history. Mr. Alfred Hillman … shared to the full the privations and inconveniences which beset the first settlers of Swan River. While quite a young man, he entered the service of the Colonial Government, and for 35 years, was an active member of the Survey Department, doing the colony good service in this capacity until the year 1862, when he was appointed to the important post of Sheriff. This office he retained for nine years, when he finally retired from public work, and shortly afterwards quitted the colony where so much of his busy and well-spent life had been passed, and proceeded to England; where he has since resided … from every quarter we have heard nothing but praise of his official abilities, and the manner in which his duties were performed, during his long career of service, together with oft-repeated appreciation of his attractive social qualities. With his death, another of the old landmarks of Western Australian history has been removed, and these yearly become fewer. Mr. Hillman leaves three sons, who all occupy positions of importance in this colony” (Victorian Express, 21 Mar 1883). The suburb of Hillman, outside Rockingham, to the south of Perth, is named after him.
7 Belitha Villas, Barnsbury, London — 1881-1883
BNA. LG. NA. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
Hillman Alfred (1807-1883)view full entry
Reference: see British Map Engravers – A Supplement
BRITISH MAP ENGRAVERS NOT INCLUDED IN THE 2011 BOOK:
HILLMAN, Alfred (1807-1883) — Perth
Draughtsman, surveyor and lithographer. Produced Townsite of Perth in Western Australia from actual survey 1838 (ms); lithographed Robert Austin, Map shewing Asst. Surveyor R. Austin’s route into the interior of Western Australia 1854; Francis Thomas Gregory, Western Australia, exploration of the Murchison & Gascoyne Rivers 1859, etc.
Born at Deptford Dockyard 21 Nov 1807 and baptised 29 Dec 1807 at St. Mary Magdalene Woolwich — the son of James Hillman, a builder, and his wife Elizabeth Stone, who had married at Portsea in 1797. Hillman was sent out by Sir George Murray to fill an appointment of draughtsman in the Survey Office of Western Australia, arriving at Perth on the Atwick 26 Apr 1831. In October 1832 he was promoted to Assistant Surveyor and posted to Albany to replace Raphael Clint. A public memorial plaque erected in Perth in 1977 reads “during his service he prepared the first plan of Perth as it was to develop and largely as it still remains. He did much of the first surveying of Albany District, of the Avon Valley, and other country townsites. The route for the highway from Perth to Albany was opened up and surveyed by him. After residing in Albany from 1832 to 1840 he built and lived in Ivy Cottage on Lot 124 St. George’s Terrace”. A map showing Hillman’s expeditions in Western Australia in January, October and November 1835 is in NA. He was frequently involved in settling boundary disputes and promoted to First Assistant Surveyor in 1838, and subsequently Deputy Surveyor General. He married Elizabeth Purkis (1815-1901) at Perth 18 Nov 1840. He was appointed to the Executive Council of the colony in 1856. He left the Surveying Department in November 1863 on being appointed Sheriff of the Colony of Western Australia by the Governor. He retired in 1873. He died at Barnsbury, London, 31 Jan 1883 aged seventy-five and was buried at East Finchley 5 Feb 1883. Probate was granted to his widow, etc., in February — his personal estate in England valued at £1,064.5s.6d. “We feel sincere regret, in chronicling the decease, although at an advanced age, of an old resident of this colony, and one who was identified with its earliest history. Mr. Alfred Hillman … shared to the full the privations and inconveniences which beset the first settlers of Swan River. While quite a young man, he entered the service of the Colonial Government, and for 35 years, was an active member of the Survey Department, doing the colony good service in this capacity until the year 1862, when he was appointed to the important post of Sheriff. This office he retained for nine years, when he finally retired from public work, and shortly afterwards quitted the colony where so much of his busy and well-spent life had been passed, and proceeded to England; where he has since resided … from every quarter we have heard nothing but praise of his official abilities, and the manner in which his duties were performed, during his long career of service, together with oft-repeated appreciation of his attractive social qualities. With his death, another of the old landmarks of Western Australian history has been removed, and these yearly become fewer. Mr. Hillman leaves three sons, who all occupy positions of importance in this colony” (Victorian Express, 21 Mar 1883). The suburb of Hillman, outside Rockingham, to the south of Perth, is named after him.
7 Belitha Villas, Barnsbury, London — 1881-1883
BNA. LG. NA. NLA. Trove.

Publishing details: https://britishmapengravers.net/entries/l-entries/thomas-liley/
British Map Engraversview full entry
Reference: British Map Engravers: A Dictionary of Engravers, Lithographers and Their Principal Employers to 1850. By Laurence Worms and Ashley Baynton-Williams. [To be indexed urgently - the later Supplement has been indexed]

Publishing details: London: Rare Book Society, 2011. ISBN 978-0-9569422-0-3. Pp. xxxii, 744, illus.
Ref: 1000
Aboriginal Australian Artview full entry
Reference: Aboriginal Australian Art. A Visual Perspective. By Ronald M. & Catherine H. Berndt. Includes Subject inex and Name index. With bibliography pages 169-172. To be indexed. (Bookseller’s note: ‘This book covers this art's perspectives and meanings (art & nature, spiritual life, land, social, style, communication); living traditional art (paintings, drawings, sculptures, sacred figures, mortuary figues and posts); art in everyday affairs (carving, modelling, domestic art); changing directions (alien pressures, innovations, Western media, trends away from traditional forms, the renaissance etc).’)
Publishing details: Methuen Australia Sydney 1982. First Edition, 176pp. Profusely illustrated in colour & b/w.
Thompson Stephenview full entry
Reference: The Magazine of Art : In the Blue Mountains - New South Wales. Disbound sheets. Engravings of A Home in the Bush; Wentworth Falls; Valley of the Grose; Victoria Cliffs.
Publishing details: Cassell and Company, 1887
London: Cassell and Company, 1887. Disbound Sheets. First edition.
Ref: 1000
Gyori George instrument makerview full entry
Reference: see Tempus Fugit: The Collection of George Gyori  Australian, Maritime & Exploration. Featuring the collection of avid collector and retired engineer, George Gyori,
this sale offers an interesting and eclectic collection of
horological and scientific instruments, clocks, watches and timepieces, 
alongside an important collection of Australian pottery and a significant collection of early photographs including works by Charles Kerry, Herbert Ponting and John Degotardi.

Publishing details: Gibsons Auction, Melbourne, 11 July, 2021
Gyori George instrument makerview full entry
Reference: see Antiques Reporter, Clock collection headlines Sotheby's Australia decorative arts sale. By David Hulme, Brigitte Banziger and John Furphy, on 29-Mar-2011:
A contemporary limited edition grand orrery - a clockwork model of the solar system - containing a brass plate engraved with the signs of the Zodiac, months of the year and the four seasons (lot 80) should get collectors of antique timepieces buzzing at Sotheby’s latest decorative arts sale from 6pm on April 5 and 6 at 926 High Street, Armadale. The orrery belongs to George Gyori, a Hungarian brought to Australia as a refugee in 1957 by the Red Cross when he was 19. In 1962, George became an Australian citizen and established his own engineering business the following year.
Perhaps it was the profession he followed, or the fact that as a child in Hungary his family could never afford the wristwatch he wanted – whatever the reason he became a keen collector of timepieces.
With financial success, he was able to follow his passion – first with watches and later clocks as his fascination with their mechanics and workmanship grew. Between 1960 and 1980, George regularly visited Sunday markets and metal merchants, both of which he found to be a valuable source of pieces for his collection.
As items became harder to find, he turned his engineering skills to advantage and began making pieces he could not source. Their manufacture was an engineering challenge as George always aimed for the perfect replica – made to the most demanding of engineering tolerances – using his favourite old watch-making machinery as a guide.
In recent years, George, now 81, has decided to sell his comprehensive collection of antique watches, clocks, sundials, chronometers, sextons and telescopes. Sotheby’s held the first sale in May 2008 and is following up with the second under its Sotheby’s Australia banner.
A major highlight is a 17th/18th century ivory, brass and ebony sundial featuring incised Roman numerals and a scene of ships coming into harbour (lot 97). Another is an 1860s French escape movement carriage clock (lot 59) and an 1810 Viennese ormolu grand sonnerie verge escarpment table clock (lot 64).
More than 150 lots of silver, glass, porcelain, furniture, tapestries and Asian works of art in the auction come from a Western Australian collector who has sold his large house in the Perth suburb of Peppermint Grove and moved to a regional part of the state.
Featured amongst the collection are large architectural panels (lot 378), European and Australian paintings and two volumes of Indian erotica (lots 433 and 434). 
The auction also contains a rare Australian silver covered presentation cup (lot 309) by Birmingham-trained silversmith Charles Jones, who had been tried and sentenced in Worcester in July 1832 and arrived in Tasmania as a convict in February the following year. The cup was made about 1850, several years after Jones was granted his Certificate of Freedom and established his own business in Hobart.
Another item of interest is the novel Victorian silver mounted glass walrus claret jug (lot 313) made in 1881 by William Leuchars of London.

Wickham Georgeview full entry
Reference: see DAAO: George Wickham. Oil painter, showed three paintings in the second exhibition of the Society for the Promotion of the Fine Arts in Australia at Sydney in 1849.
painter, executed an oil painting of Howell’s Mill, Parramatta in 1849 (Mitchell Library). That year he showed three paintings in the second exhibition of the Society for the Promotion of the Fine Arts in Australia at Sydney, including a copy of one of the other exhibits, Head ('supposed to be Lord Bacon’), catalogued as 'by an old Master’. Wickham’s painting must have been 'skied’ as the Sydney Morning Herald remarked: 'At the distance at which we view it, this appears to be a respectable copy of the excellent original’. Wickham lived at Parramatta for many years; his son Cecil Henry, an engineer, was born there in 1874. This entry is a stub. You can help the DAAO by submitting a
Flourished 1849 - 1849
Marquet Claude cartoon p68view full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Ashton Julian p63view full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Dolk Michiel mural p114view full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Fairskye Merilyn mural p114view full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Fowles Joseph p18 30view full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Hood Sam 3 refsview full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Dawn and Dusk Clubview full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Illingworth Nelson in passing onlyview full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Roberts Tom in passing onlyview full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Muskett Alice p89view full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

Smith Joshua in passing onlyview full entry
Reference: see The Sydney Mechanics’ School Of Arts A History Celebrating 180 Years 1833 - 2013, by Garry Wotherspoon. ‘This book traces the school from 1833. The school set out to combat ignorance, civilise the colony of NSW and allow people to better themselves through education.’
Publishing details: SMSA 1st Edition 2014 Paperback, 182pp, illustrated in colour and black and white.

casurina timbers in Australiaview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2. ‘Casurina timbers in Australia’, article by David Bedford.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Ward William Frederick engraver, designer, etcview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, article by Yvonne Barber, p13-22
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Stelling Frank Riedl 1882-1966 carverview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, in article on William Frederick Ward engraver, designer, etc by Yvonne Barber, p13-22
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Doble Gilbert ‘Bertie’ sculptor 1880-1974view full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, announcement by editor of future article on sculptor and seeking examples of his work. p23
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Ross Don artist and craftworkerview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, see article ‘Don Ross artist and craftworker’ by Glenn R. Cooke, p24-26
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Mauchline Ware and Melbourneview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, see article ‘Mauchline Ware and Melbourne’ by Nicola Kissane, p27-29
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Dowling W P birth dateview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, see feedback on W. P. Dowling’s birth date. p29. He my have been born in 1822, 1823 or 1824
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Angels in the Studio in Western Australia Part 3view full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘Angels in the Studio in Western Australia Part 3’ by Dorothy Erickson. Includes biographies on 5 WA women artists.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Tuck Marieview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘Angels in the Studio in Western Australia Part 3’ by Dorothy Erickson. Includes biographies on 4 WA women artists.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Fuller Florenceview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘Angels in the Studio in Western Australia Part 3’ by Dorothy Erickson. Includes biographies on 4 WA women artists.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
O’Connor Kateview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘Angels in the Studio in Western Australia Part 3’ by Dorothy Erickson. Includes biographies on 4 WA women artists.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Walder Daisyview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘Angels in the Studio in Western Australia Part 3’ by Dorothy Erickson. Includes biographies on 4 WA women artists.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Summers Charles 1828-1878 watercolours c1860s and biographyview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘The Browns of Montrose, near Mintaro’, by Jo Vandepeer, p 40-49. Includes biography of Charles Summers
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Whitesides James cabinetmakerview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, for article ‘James Whiteside’s chairs for the Parliament of Tasmania’, by John Short, p50-56.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Hart Conway reference and illustrationview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, in article ‘James Whiteside’s chairs for the Parliament of Tasmania’, by John Short, p50-56.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Winter Alfred 1837-1911 photographerview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, in article ‘James Whiteside’s chairs for the Parliament of Tasmania’, by John Short, p50-56.
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
woodcarvers German, in Tasmaniaview full entry
Reference: see Australiana magazine, May, 2021, vol. 43, No. 2, in article ‘German woodcarvers in Australia in Tasmania’, by John Wade, p57
Publishing details: Australiana magazine, May, 2021, vol. 43, No. 2.
Vernacular Visionsview full entry
Reference: Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Ellis Horace Payneview full entry
Reference: see DAAO:
Ellis J or I view full entry
Reference: see DAAO: watercolourist and lithographer, worked in Sydney in the 1840s and 1850s. In 1847 Ellis was listed as the artist of Rocky Scenery , lent by the collector T.S. Mort to the Society for the Promotion of the Fine Arts in Australia exhibition. While considering this 'a fair performance’, the Sydney Morning Herald of 26 July 1847 advised the artist to study the work of George Edwards Peacock 'for improvement’. A further two paintings, North Rocks and Landscape , were lent to the society’s second exhibition in 1849. Soon afterwards Ellis painted a watercolour, Old Sydney, Watson’s Bay (Dixson Galleries). An undated watercolour depicts Hyde Park Sydney Looking towards Saint James Church and the Court House (DG). Ellis also lithographed views, including Sydney , St Mary’s Cathedral and St James’ Church . Published by T. Liley together with two parts of an apparent set, Port Jackson from Vaucluse. No. 1 and Fort Macquarie from the Harbour, No. 2 , these are now known from prints in Thomas Mitchell 's scrapbook, Portraits of the Aborigines (Mitchell Library). As was common practice, Ellis signed with the Latin 'I’ to represent 'J’.
This entry is a stub. You can help DAAO by submitting a biography.
Writers:
Staff Writer
Date written:
1992
Last updated:
2011
Harding Nicholasview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Culliton Lucyview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Darren McDonaldview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Culliton Annaview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
McMonagle Fionaview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Done Kenview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
McKenna Noelview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Drendel Graemeview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Sweaney Robynview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Headlam Kristinview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Jiawei Shenview full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Rae Jude
view full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Robinson William
view full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Dawson Janet
view full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Allen Davida
view full entry
Reference: The Popular Pet Book, by Sarah Engledow. "...published in conjunction with the exhibition The Popular Pet Show, 3 November 2016 - 13 March 2017"--page 269. Includes extensive biographical information on the artists. [’The Popular Pet Show will express the joy and warmth that many of us derive from our animal companions, and will celebrate their trusting, unpretentious ways.
Comprising exuberant recent Australian paintings, many on a large scale, it will include portraits of famous and obscure Australians and their pets by [15 contemporary artists] Many works have been created especially for the exhibition.
The Pet Show curator is Sarah Engledow, whose recent popular National Portrait Gallery exhibitions include Arcadia: Sound of the sea; Paris to Monaro: Pleasures from the studio of Hilda Rix Nicholas; and Idle Hours. A fully-illustrated catalogue, written by Dr. Engledow, will accompany the high-spirited exhibition’] [to be indexed]
Publishing details: NPG, 2016, hc, 288pp
Namatjira Vincentview full entry
Reference: see Qagoma website: ‘VINCENT NAMATJIRA. Born 1983 Alice Springs, Australia. Lives and works in Indulkana, Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, South Australia, Australia
A painter from Indulkana in in South Australia, Vincent Namatjira has established himself as a subversive and witty portraitist. Vincent is the great-grandson of the renowned Arrernte watercolour artist Albert Namatjira. Vincent was born in Alice Springs and spent his early childhood at Hermannsburg. When his mother passed away unexpectedly, Vincent was removed from his family and raised in foster homes. Intensely aware of his family’s history, he yearned to return to the central desert. He moved back to Hermannsburg as a young adult and then settled with his wife’s family at Kanpi, on the APY Lands, where he learnt to paint in a customary dot painting style. Since 2013, Vincent has been painting portraits of important figures, both personally familiar and famously political. He is an acute observer of national and international politics and the connections between leadership, wealth, power and influence.
Vincent Namatjira has also worked with the QAGOMA Children's Art Centre to develop a project for APT9 Kids’
Namatjira Vincentview full entry
Reference: Albert Namatjira, by Vincent Namatjira.
‘Award-winning artist Vincent Namatjira tells the life story of his great-grandfather, Albert Namatjira, one of Australia’s most iconic artists.
Vincent’s witty and moving paintings are accompanied by evocative text, which records the pivotal moments in Albert’s life. In telling his great-grandfather’s story, Vincent builds a compelling picture of the times and conditions in which Albert lived and worked, capturing his triumphs and tragedy against a backdrop of social change and historical injustices.
This poignant children’s book provides an important tool for discussion about Australia’s art history, and a launching pad for exploration of the key moments in Australia’s Aboriginal Rights movement.
Albert Namatjira is a unique children’s picture book of both artistic beauty and historical importance, and will appeal to children, art collectors and those looking for a special gift.
The artwork in this book is part of a body of work called ‘Albert’s Story’ that was acquired by QAGOMA - Queensland Art Gallery/Gallery of Modern Art.’
Publishing details: Magabala Books, 2021, hc, 32pp
Namatjira Alberview full entry
Reference: see Albert Namatjira, by Vincent Namatjira.
‘Award-winning artist Vincent Namatjira tells the life story of his great-grandfather, Albert Namatjira, one of Australia’s most iconic artists.
Vincent’s witty and moving paintings are accompanied by evocative text, which records the pivotal moments in Albert’s life. In telling his great-grandfather’s story, Vincent builds a compelling picture of the times and conditions in which Albert lived and worked, capturing his triumphs and tragedy against a backdrop of social change and historical injustices.
This poignant children’s book provides an important tool for discussion about Australia’s art history, and a launching pad for exploration of the key moments in Australia’s Aboriginal Rights movement.
Albert Namatjira is a unique children’s picture book of both artistic beauty and historical importance, and will appeal to children, art collectors and those looking for a special gift.
The artwork in this book is part of a body of work called ‘Albert’s Story’ that was acquired by QAGOMA - Queensland Art Gallery/Gallery of Modern Art.’
Publishing details: Magabala Books, 2021, hc, 32pp
silverview full entry
Reference: see HAWKINS, J. B., NINETEENTH-CENTURY AUSTRALIAN SILVER
Publishing details: Woodbridge, Antique Collectors’ Club, 1990. Two volumes, quarto, full-page colour plates, numerous illustrations, a fine set, cloth, gilt, with dustwrappers, cloth slipcase.
Hemy Thomas Marie Madawaska 1852-1937view full entry
Reference: LAWRENCES AUCTIONEERS, Crewkerne, UK, 21.7.21, lot 1354, THOMAS MARIE MADAWASKA HEMY (1852-1937)
GREY DAY ON AN INDUSTRIAL RIVER
Signed and possibly dated indistinctly (1879?), watercolour and bodycolour
48.5 x 74cm.;
with a marine scene by his brother, Bernard Benedict Hemy, signed and dated 98, watercolour, 32 x 47cm. (2)
The artist's curious middle name arose from his being born on the SS Madawaska en route from Newcastle to Australia.
++ Some fading and foxing apparent in the sea and the water; B B Hemy faded and lightly stained
Ashton Robert (2000s),view full entry
Reference: see Douglas Stewart Fine Books, July 5, 2021, online catalogue:
A selection of works by Australian photographers Robert Ashton (2000s), Rennie Ellis (1970s) and Athol Shmith (1930s)
Ellis Rennie (1970s) view full entry
Reference: see Douglas Stewart Fine Books, July 5, 2021, online catalogue:
A selection of works by Australian photographers Robert Ashton (2000s), Rennie Ellis (1970s) and Athol Shmith (1930s)
Shmith Athol (1930s)view full entry
Reference: see Douglas Stewart Fine Books, July 5, 2021, online catalogue:
A selection of works by Australian photographers Robert Ashton (2000s), Rennie Ellis (1970s) and Athol Shmith (1930s)
Morgan Squire 1886 - 1974view full entry
Reference: see Douglas Stewart Fine Books, July 5, 2021, online catalogue:
MORGAN, James Squire (1886 - 1974)
Original etching plate for a Christmas Greeting card
Zinc etching plate, 102 x 130 mm, etched in reverse, image of a kangaroo perched under a tree, etched inscription ‘The Season’s Greetings from Hayward C. Parish 1928 – 1929’, signed in the plate ‘Squire Morgan, Sydney – Australia’ Provenance: Collection of James R Jackson (1882-1975) The Estate of Dora Toovey (1898-1986), thence by descent
MENARD Romuald George (painter); FRÈRES, Thierry; SABATIER, Léon Jean Baptiste (lithographers)view full entry
Reference: see Douglas Stewart Fine Books, July 5, 2021, online catalogue:
Vue de Sydney et de l’entree de la Riviere de Paramatta (panorama in two sections).
Two plates, forming a continuous panorama, from: Voyage autour du monde sur la frégate la Vénus, pendant les années 1836-1839 … atlas pittoresque. [Paris : Gide, 1841]. Tinted lithographs, 170 x 420 mm; pale foxing to the margins of the first plate, else in fine condition. Custom framed in museum timber, measures 422 x 1138 mm.
The voyage of the Vénus, under the command of Abel du Petit-Thouars, was critical to the establishment of a French colonial presence in the Pacific, as well as for the promotion and protection of French commercial activities around the globe. It achieved its primary objective of establishing a French protectorate over Tahiti and the Marquesas. The Frenchmen arrived in Sydney in 1838, this magnificent panorama shows the harbour from perspective of Pinchgut Island (Fort Denison) with the Venus sailing in the foreground

Cayley Nevilleview full entry
Reference: Our birds, by Nevile Cayley

Publishing details: Sydney : The Aldenhoven Art Galleries, [1918]. Octavo, diecut wrappers, stringbound, seven colour plates, text sheet. No. 1 – Australian Bird Series. 1st edition.
Ref: 1000
Landmarksview full entry
Reference: Landmarks : contemporary perspectives in the local product (collector’s edition), by Richard Maude. A limited edition survey of the artists of northern New South Wales. Artists include Peter John Steggall, Mostyn Bramley-Moore, Philip Nicol, James A. Smith, Bonney Bombach, John McCormick, Sabine Vogelsang, Alan Lethbridge, John L. Smith, Stuart Cussons, Rose McKinley, Geoff Levitus, Graeme Holden, Grant Vaughan, Jan Davis, Gary Jolley, Geof Beyer, Elsebeth Buivids, Felix-Srecko Radman, Rene Bolton, Fiona Murphy, Marko Koludrovic, Jennifer Aspinall, Jan Renkin, Patsy Payne, Tony Nankervis, Lizabeth Johnson, Peter Widmer, Les Dorahy, Keyy Wilson, Shelagh Morgan, Roger Garlick, Helen Hawkes, Corinne Fletcher, Martin James Hunting, Christopher Meagher, Branwen Cler Davies, Jacklyn Wagner,


Publishing details: Lismore : Lismore Regional Art Gallery, 1988. Quarto, illustrated wrappers, unpaginated, illustrated.
The Collector’s Edition, limited to 99 numbered copies,
Ref: 1000
Wilson Hardyview full entry
Reference: Catalogue of the Hardy Wilson collection of antique furniture, catalogue of 147 works.
Publishing details: Sydney : Anthony Hordern’s Fine Art Galleries, circa 1920. Octavo, lettered wrappers (crease), pp. 12, illustrated, [copy with see Douglas Stewart Fine Books, July 5, 2021, online catalogue]
Ref: 1000
Stellarcview full entry
Reference: Obsolete body / suspensions / Stelarc, compiled and edited by James D. Paffrath with Stelarc. Davis, CA. Publication on the performance artist with numerous images of his unnerving pierced body suspensions.
.P. Publications, 1984. Quarto, illustrated wrappers, pp. 156, illustrated. Very scarce publication on the performance artist with numerous images of his unnerving pierced body suspensions.
Contents:
An interview with Stelarc.
Introduction
1. Rotating the body in space ; Early performances / Ken Scarlett ; Events in Japan / Nobuo Yamagishi ; The myth of information ; Event for stretched skin ; Event for stretched skin spin/swing ; Event for stretched skin aligned slot ; Event for stretched skin no. 4
2. Propped contained and wedged : Tomorrow’s artist / Rod O’Brien ; The predominance of intuition / Takeshi Sugawara ; Triggering an evolutionary dialectic ; Event for propped body ; Event for support structure ; Event for obsolete body
3. Structural and amplified suspensions : Link exhibitions / Ian North ; A new image of the artist / David Dolan ; Event for obsolete body #3 escape DBD / Emily Hicks ; Stelarc, performance and masochism / Rachel Rosenthal ; A seat on Mt. Olympus: nature, consciousness adn metaphor / Ryoichi Hirai ; Strategies and trajectories ; Event for lateral suspension ; Event for spin suspension ; Event for amplified tension ; Pull out/pull up event for self suspension ; Sitting/swaying event for rock suspension ; Tilted/twisting event for cone configuration ; Event for clone suspension ; Moving/modifying suspension for obsolete body ; Trajectory ; Internal/external suspension for obsolete body
4. Environmental suspensions : Shaft suspension / Thomas G. McCullough ; 1G gravitational landscape / Takatoshi Shinoda ; The splitting of the species ; Up/down event for shaft suspension ; Seaside suspension: event for wind and waves ; Sculture space suspension ; Prepared tree suspension event for obsolete body no. 6.


Publishing details: J.P. Publications, 1984. Quarto, illustrated wrappers, pp. 156, illustrated.
Ref: 1000
Lowenstein Tom view full entry
Reference: Lovers and others.
‘In this richly illustrated volume full of photographs from Lowenstein’s personal archives documenting his long-standing friendships and reflecting the volume’s heady mixture of accounting, art and wine. Tom Lowenstein OAM is one of Australia’s most respected tax accountants and financial advisors. This candidly written memoir, narrates the way in which, by chance and circumstance, he placed his career at the service of the Australian art world.
Lowenstein’s interactions with his colourful and gregarious clients took him frequently out of the comfort of the corporate environment into the artists’ homes and studios. The personalities of Charles Blackman, Colin Lanceley, Margaret Olley, John Olsen, Garry Shead, Tim Storrier, and many other luminaries of the art world are vividly portrayed with unique insights.
The book describes Lowenstein’s numerous David and Goliath battles with the Australian Government and the Australian Tax Office for a greater understanding and fairer treatment of the unique set of circumstances and numerous challenges faced by the country’s creative sectors.’ – the publisher.
Includes reproductions of artworks by Lin Onus, John Wolseley, John Olsen, Rick Amor amongst others and recollections about the artists Brett Whiteley, John Howley, Peter Corlett, Rod Milgate, John Olsen, Charles Blackman, Colin Lanceley, Tim Storrier, John Firth-Smith, Margaret Olley, Robert Jacks, John Wolseley, Akio Makigawa, Yvonne Audette, Robert Klippel, Mel Ogden, Clifford Possum, Arthur Boyd, Guy Boyd, Lin Onus, Ken Unsworth, Rick Amor, Lewis Miller, Allan Mitelman, Garry Shead, Clinton Nain, Danie Mellor, Richard Bell, Michael Johnson, Matthew Johnson, Joshua Yeldham, Ben Lewin, Takanori Oguiss, John Walker, Yosl Bergner, Dennis Oppenheim, Jeffrey Smart, Guan Wei, Ah Xian, and many others.
 


Publishing details: Melbourne Books, 2021. Quarto, boards in illustrated dustjacket, pp. 236, illustrated.
Ref: 1000
Gilmore D H (David Hunter)view full entry
Reference: The tale of Christopher Cricket
Publishing details: Angus and Robertson, 1946. Quarto, illustrated papered boards in pictorial dust jacket (price clipped), pp 46, with numerous full-page plates (several in colour) and line drawings in the text
Ref: 1000
Oppen Margaret view full entry
Reference: Dare to Vote! ‘An artist’s exploration of Australia’s system of democracy.’
Publishing details: Sydney : Ant Press, 2012. Artist’s book. Small quarto, screenprinted wrappers in lettered box (which includes two HB pencils – for voting!), unpaginated, letterpress text discussing the principles of voting and democracy, folding section for voting.
Ref: 1000
Henson Billview full entry
Reference: Particle mist
“Particle Mist draws together works from three of Bill Henson’s earliest photographic series: ’Untitled 1974’, ‘Untitled 1975’ with additional previously unseen photographs from an unfinished work begun in 1976.
Publishing details: London : Stanley / Barker, 2015. Oblong quarto, cloth in dustjacket, pp. 140.
Ref: 1000
Raynor Miss student friend of Charles Condorview full entry
Reference: see Lauraine Diggins Fine Art, press release 7.7.21
CHARLES CONDER, Miss Raynor c.1889, 
oil on canvas on cardboard, 16 x 16 cm

This small, rapidly painted sketch belongs to Conder's Melbourne years (1888-90) and is typical of his en plein air style. This was a style, developed in the ateliers of Paris and in the summer painting 'camps' of rural France in the 1870s that involved the artist capturing and holding the essence of the moment and the scene as he or she stood in front of it. The first marks put onto the canvas were to be the only ones: nothing was to be altered or worked over later, back in the studio. The heart of plein air painting was truth to the moment of vision. Stylistically it was characterised by clarity of vision, an understanding of technique and  poetic response to the moment.
Subject is thus everything and nothing. Miss Raynor, the principal female figure in this sketch is essential for the articulation of the work but only as a form to set against other forms - the heavy cypress tree behind her, the post and rail fence, the smoothness of the gold greens and brown of the paddock in which she stands. Her everyday dress adds to the prosaic note of the sketch, the drab attire enlivened by a few touches of red on the unfurled umbrella at her side.  Behind her stands a second female form, painted even more ethereally in relation to the raking light that falls from left to right across the picture plane and is even less identifiable.
'Mrs (sic) Raynor was a student friend of Conder and was sketched by him during a picnic outing in Melbourne during his stay there (1889)'. She seems to have modelled for Conder on other occasions. Another study of her, an oil on cedar panel, in which she wears a  rather more elaborate costume and is seated on a river bank, is to be found in the Joseph Brown Collection.
Ann Galbally, 
Extract LDFA Annual Collectors' Exhibition Catalogue 2000

Taylor John Hview full entry
Reference: see Ebay listing 9.7.21:
Unframed Original INK & WASH Portrait on Paper, by Australian Listed Artist JOHN H TAYLOR, (1921 - 2012).  It is signed lower right, and was Painted around 1970.  

It is titled "PORTRAIT OF THE ARTIST'S WIFE EMME". Unframed, and has come from a folio of Sketch work by the Artist.
TAYLOR, John H; (born 1921, died 2012). Painter and Printmaker, studies: Footscray Technical College, 1939, Melbourne Technical College, 1945-46 George Bell 1950, Chelsea Polytechnic, London 1951-52 study tours to Holland, Belgium, France, Spain, Portugal, Italy, France and Mexico 1952-1991. Awards: Albany 1962, 1968 Eltham, 1999 Lorne Represented: National Gallery of Victoria, National Gallery of Australia, Tokyo University, Australian Embassy Tokyo Japan, Private Collections in England, Japan, throughout Australia and USA, Bibliography: Directory of Australian Printmakers 1976, 1982, 1988, McCulloch, Germaine, James Mollison.
Excellent Condition, on paper, and measures, 9 inch by 11 1/2 inch, (22.8cm x 29.3cm). (Image size). 

Noble Richardview full entry
Reference: from DAAO: Richard Noble
Also known as R. P. Noble, J. Noble, P.? Richard Noble. Artist (Painter).
A painter who dealt mainly in portraiture. He painted portraits for many of Sydney's leading residents and exhibited his works in various exhibitions. His last known oil painting is a portrait of Elizabeth Solomon.
painter, was very probably the student of that name who enrolled at the London Royal Academy Schools in 1828. As the son of Robert Heysham Noble, an oil painter who specialised in coastal scenes, he could well have used 'R.P. Noble’, with its distinguishing middle initial, when exhibiting a watercolour, Near East Malling, Kent , at the Royal Academy in 1841. Richard Noble possibly brought this and other paintings to New South Wales. A painting by 'Noble’ entitled East Malling, Kent was in Sydney by 20 July 1847 when described by the Sydney Morning Herald , along with a Dutch landscape by Tasker, as 'two clever sketches by artists who know well how to handle their tools’. When next exhibited in Sydney – at the 1849 exhibition of the Society for the Promotion of the Fine Arts in Australia – East Malling, Kent was owned by the father of the painter Frederick Garling (also Frederick). E. Salamon lent an untitled 'Noble’ landscape to the same exhibition that had also been shown in 1847.
Richard Noble does not seem to have lived in Sydney nor relied on advertising his abilities. The first documented evidence that he was in the colony is found early in 1855 when he was commissioned to execute portraits of the Scarvell family of Clare House, Pitt Town, near Windsor. It was a major commission and Noble moved into the Scarvell residence for nearly twelve months in order to execute it. According to family tradition, he formed a romantic attachment to Sarah Winifred Isabella Mary Scarvell, then aged eighteen; another family tale is that he had only one arm. He painted Captain John Larking Scarvell-who came from East Malling, Kent-his wife Sarah, née Redmond, and probably all their eight children. Five of the children’s portraits are known; two – of Elizabeth and John Scarvell – are in the State Library of New South Wales, acquired from a descendant in 1999. However, if portraits were made of the two youngest girls they have been lost. Scarvell also produced a view of the nearby Anglican church of St Matthew, Windsor (private collection).
Extant portraits by Noble of leading Sydney residents include that of Governor FitzRoy’s daughter, the Hon. Mrs Keith Stewart (1855, Old Government House, Parramatta), a commission he received after James Wilson drowned. Noble’s portrait of Commander Robert Johnston (1856, Mitchell Library), son of Lieutenant-Colonel George Johnston, a former lieutenant-governor of New South Wales and the first Australian-born subject to enter the Royal Navy, was modelled on a much earlier portrait of Johnston by the English painter R.C. George and replicated its inaccurate background view of Sydney Harbour. James Wilshire MLA, a former mayor of Sydney, lent Noble’s portrait of him (1856, Sydney Town Hall) to the third exhibition of the Society for the Promotion of the Fine Arts in Australia in 1857. Noble himself contributed seven paintings to the show: an English landscape, three copies – Copy of Lucretia , Copy of Beatrice Cenci (presumably after Guido Reni) and Madonna and Child – and three portraits. He probably also exhibited an Italian landscape after Zucarelli. None was specifically noted by local reviewers, who had a decided preference for Old Master and British paintings; Marshall Claxton was the only 'colonial’ artist acclaimed.
Noble’s portraits almost invariably reveal a keen interest in the depiction of fabrics, laces and ribbons, a skill shown to particular advantage in two highly idealised child studies, The Russell-Jones Children (1857, Art Gallery of New South Wales) and Benedotto John Bernasconi , son of the Sydney carver and frame-maker Benedotto Bernasconi (1860, Joseph Brown Collection, Melbourne). His last extant work is an extremely competent and sensitive portrait of Elizabeth Solomon, wife of an affluent bullion merchant, painted at Sydney in 1862 (Art Gallery of South Australia [AGSA], purchased 1986); the companion portrait of her husband John is lost. Other portraits include Mr John Thomas and Mrs John Thomas (1858, National Gallery of Australia), members of the Knox and Macartney families, and several unknowns (the Mitchell Library holds a pair inscribed 'Sydney, 1862’ and a fine portrait of a Sydney gentleman, possibly Hugh McKay, of 1856). His oil portrait of Father J. Conway was among the paintings raffled at St Augustine’s Catholic Church bazaar in 1870. He did landscapes, e.g. Market Square from Bradley’s Mill, Goulburn n.d. (Dixson Galleries), and excellent animal paintings, e.g. The Favourite Gig Horse, Napoleon, the Property of Michael Marred Esq. 1858 (AGSA).
All Noble’s surviving works are oil paintings. Most are signed 'Richard Noble’ and inscribed with the date and, occasionally, with the place of execution. He was first listed as an artist in Cox & Co.'s Sydney Post Office Directory for 1857 at 246 George Street, then not again until Sands Sydney Directory for 1864 locates him at Lansdowne Street, Newtown. The following year his address was given as 612 George Street, Sydney. After this he seems to have disappeared, unless he is the otherwise unknown 'J.’ Noble, listed as an artist of Nelson Street, Newtown, in 1867. His death is not recorded in New South Wales; a letter from his nephew suggests he later went to Italy where he was still living in 1900.
Writers:
McDonald, Patricia R.
Date written:
1992
Last updated:
1989
Noble Richardview full entry
Reference: Richard Noble, fl Australia 1850s-60s. Was this RICHARD PRATCHETT NOBLE (1814-1861) see LAWRENCES AUCTIONEERS,
Crewkerne, Somerset, 21 July, 2021. lot 1311, RICHARD PRATCHETT NOBLE (1814-1861)
SUMMER AFTERNOON, HENDON
Signed, inscribed on backboard, watercolour and bodycolour over traces of pencil, heightened with gum arabic
41 x 55cm.
* The inscriptions on the backboard are faint and partially illegible: A Remembrance of a [unclear] afternoon/ at Hendon [unclear]/ R Pratchett Noble/ to his friend/ Henry Reynolds Esq. and, in another hand, Presented by his daughter Hero Reynolds to her dear friends Mr and Mrs Spooner/ of Clifton House Henwick as a token of esteem and affection/ Novr 1st 1883
++ Good colour; needs a light clean
Thomas George Grosvenor 1856-1923view full entry
Reference: see AUKTIONSHAUS SATOW, Satow, 17.7.21, lot 116:
Thomas, George Grosvenor (1856 Sydney-1923 London) "Forest Landscape", oil / canvas, signed. u.l. and dated 1912, 39x53 cm, frame (George Grosvenor Thomas was an Australian late Impressionist painter and member of the Glasgow Boys, an artist group from the 19th and early 20th centuries. He mainly painted landscapes)
Adams Araceliview full entry
Reference: see May Space website:
Araceli Adams is a ceramic artist who runs a small porcelain studio, Casa Adams Fine Wares, in Sydney. Born in Spain, she spent her childhood between her birth country and Australia, later moving to the United Kingdom and Canada before settling in Sydney permanently. She was introduced to the ceramic medium in Toronto, Canada, and learnt to work with porcelain in New York’s Greenwich House Pottery.
With a nod to the hand-coloured, natural history copperplate engravings of the 18th century, Araceli monoprints her illustrations onto handmade porcelain vessels. After a first firing in the kiln, she paints them with watercolour-like washes of underglaze. Each piece is then meticulously glazed and fired a second time, producing functional artworks that are equally at home in daily use or on display.
Araceli’s work is inspired by Australia’s rich biodiversity, with an aim to recreate the wonder and curiosity felt by botanists during the Age of Discovery. As the climate changes and more natural habitat is lost, she hopes her pieces elicit the same wonder and joy, so we may all be more inclined to value and preserve what we have.
Publishing details: https://www.mayspaceonline.com.au/about-araceli-adams
Adams Araceliview full entry
Reference: see May Space website, artist cv:
• ARACELI ADAMS •
EDUCATION
2014 Diploma of Ceramics (Distinction), TAFE NSW - Sydney Institute
2007 Master of Marketing and Sales Management, ESADE Business School, Spain
2005 Bachelor of Art (English Philosophy), University of La Roija, Spain
GROUP EXHIBITIONS

2021 VESSEL, MAY SPACE Online, Australia

2019 Cup: The Intimate Object XV, Charlie Cummings Gallery, Gainesville, FL, United States
2019 The Functional Canvas IV, Charlie Cummings Gallery, Gainesville, FL, United States
2018 Cup: The Intimate Object XIV, Charlie Cummings Gallery, Gainesville, FL, United States

Table Talk 2018: Australian Handmade Ceramics, Kerrie Lowe Gallery, Sydney

2017 Cup: The Intimate Object XIII, Charlie Cummings Gallery, Chapel Hill, NC, United States
MEDIA & PUBLICATIONS
2021 “People & Places”, The Journal of Australian Ceramics 60, no.1 (April): 64-65.
• BIOGRAPHY •
Araceli Adams is a ceramic artist who runs a small porcelain studio, Casa Adams Fine Wares, in Sydney. Born in Spain, she spent her childhood between her birth country and Australia, later moving to the United Kingdom and Canada before settling in Sydney permanently. She was introduced to the ceramic medium in Toronto, Canada, and learnt to work with porcelain in New York’s Greenwich House Pottery.
With a nod to the hand-coloured, natural history copperplate engravings of the 18th century, Araceli monoprints her illustrations onto handmade porcelain vessels. After a first firing in the kiln, she paints them with watercolour-like washes of underglaze. Each piece is then meticulously glazed and fired a second time, producing functional artworks that are equally at home in daily use or on display.
Araceli’s work is inspired by Australia’s rich biodiversity, with an aim to recreate the wonder and curiosity felt by botanists during the Age of Discovery. As the climate changes and more natural habitat is lost, she hopes her pieces elicit the same wonder and joy, so we may all be more inclined to value and preserve what we have.
Publishing details: https://static1.squarespace.com/static/5fe16e2ab9c87d07fa028acf/t/609cd7d0e9ed5d76a3aedc01/1620891601437/Adams_Araceli_5-21.pdf
Adams Araceliview full entry
Reference: Araceli Adams - Underwater Sydney
14 Aug 2021 - 29 Aug 2021
Publishing details: Maunsell Wickes Gallery, 2021, catalogue details to be added)
Ref: 1000
Judell Anneview full entry
Reference: Anne Judell, exhibition Charles Nodrum Gallery.
Born in Melbourne in 1942, Anne Judell studied design at RMIT University before living and working in the US and Europe and then settling in Sydney in 1977.  She has exhibited regularly at various Sydney and Melbourne galleries since then, including at the Charles Nodrum Gallery in 1991.  That show included works from her ‘Silence’ series; paintings and works on paper of monolith-like forms, standing upright or floating horizontally, radiating a thick and misty light.  In 1992 she relocated to the Southern Highlands of NSW and connection with this gallery faded.  She moved back to Melbourne in 2014 and now lives and works in an apartment in St Kilda.  So this exhibition is something of a return to Judell’s work for Charles, and an introduction for me. 

This show includes large works on paper dating from around the time Anne won the Dobell Prize for drawing in 2011 for an elegant and, in her words, “shy, retiring and meditative”, triptych in which the vessel-like forms in the centre of each panel – much like the monoliths of the ‘Silence’ series, though much more softly - seem to emerge and disappear from view, like rising smoke or a passing cloud.  Guy Warren, who judged the prize, described the process of making these works as “as much an art of archaeology as drawing, an excavation… Judell sculpts her paper, revealing hidden layers between charcoal, pastel, gesso and paper.”  Indeed, the surface of the Highland and St Kilda works in this exhibition are so textured, so soft and fluffy, you might mistake them for some sort of fabric rather than paper.  In the artist’s own words: “I work very lightly with many many layers of pastel until some form asserts itself. This is then refined with graphite and more layers. I’m attempting to reach that very elusive point where they are neither form nor formless.” Her minute and repetitive tearing and scraping is worked up or down the thick Hahnmuhle paper in greater or lesser intensity - in some areas so deep she’s almost torn a hole - creating a gradation of detail which, in some cases, produces what looks like a snowscape receding into the horizon, in others, moss growing on a damp wall, and, as in Void, a cluster of stars in deep space.  At the other end of the spectrum, works like Tango have a less concentrated and more open-air quality, with gestural brush strokes dancing down the paper.

Also in this exhibition are a series of Icons made of gold leaf and wood panel, some of which were exhibited in Japan in 2019.  Their reception in Kyoto was warm – something I find unsurprising and encouraging: the Japanese, like the Koreans, have an unparalleled eye for finely crafted objects, and for a refined, organic, landscape-inclined abstraction - and that’s just what these icons are.  In some I see a cliff face, others a seascape, others the bark of a tree – all with a jewel-like brilliance and intimacy of scale.  These works can hang on the wall like paintings or stand on surfaces like sculptures.  Anne has continued her use of gold leaf, in a series of works on aluminium board and paper – evocative of a flock of birds in the sky, an aerial landscape of a mountain range or, as the title suggests, an ancient Script.  Finally, a series of sculptures made from rock found in Maldon which, despite their small scale, have a sense of monumentality; one is reminded of the apparently impossible balance of Stonehenge – and its ancient, mystical feel.
 
Kate Nodrum, 2021
 
Anne Judell is represented in major private and public collections including the Australian National Gallery, the Art Gallery of NSW, The National Gallery of Victoria, Parliament House Collection, Art Bank and regional galleries throughout NSW and VIC. 
A survey exhibition of works from 1992-2002 toured regional galleries in NSW and Tasmania from 2002-2005.
Publishing details: Charles Nodrum Gallery, 2021, (catalogue details to be added)
Ref: 1000
Phillips H (Harry)view full entry
Reference: Picturesque Sydney Harbour, N.S.W. / [photographed, printed and published by H. Phillips
Publishing details: Willoughby, N.S.W. : H. Phillips, [1924] 
[30]p. : all ill. ; 22 x 52 cm. 
Ref: 1000
folk artview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
naive artview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Carrison Edward James wooden figure c1900view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hawkes Gay b1942 various referencesview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
White John 1787-1860 house modelview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
king plates [sic] breastplate p6view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
breastplate or king plates [sic] p6view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
McIntyre Archibald train model 1919view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Bailie Maude 1884-1961 chiffoniere 1904view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Ward John b1836 flag designview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
primitive artview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
outsider artview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
ethnic artview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Morgan Glenn b1955 view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Ngallametta George 1941-1986view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Barak William 1824-1903 Corroboreeview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Angas George French 1822-1886 native weapons and implementsview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Erliakiliakirra Jim Kite c1865 - c1930 gypsum pipeview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Petyarre Ada Birdview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
figurehead of ship possibly depicting Truganiniview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Truganini figurehead of ship possibly depicting Truganiniview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
ship figurehead of ship possibly depicting Truganiniview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Schneider Johann 1833 - ? iron grave markerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Mauran maker of grave markerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Herbert Daniel 1797-1868view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Fritsche Andreas 1808-1896 earthenware jugview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hoffman family pottersview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hoffman Johann Gotthilf Samuel 1818-1900 potterview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Zoerner Gottleib 1844 - 1916 potterview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Germanic folk artview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Giles J 1801 - 1870 litho from South Australia Illustratedview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Gerler Carl ink drawing 1846view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Brauer Friedrich blanket boxview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Launer Karl 1820 - 1894 wardrobe etc p69-71, 76 85view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Schaedel Wilhelm 1834 - 1856 wardrobeview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Graetz Carl Ewald 1865-1937 dresserview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Loessel Alma 1866 - 1952view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Otto F J E watercolour and frame 1911view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Preiss Otto 1891 - 1981 cabinetview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Ahrens Hugo 1905 - 1993 foil artwork c1940view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Bartholomaeus Friedrich wedding card 1885view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Holford and Son pottery photo of 1897view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Fieldsen F J house model 1889view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Smith Maitland 1920 - c1998 stoneware lionview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hall Ron 1919-1999 pottery koalasview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Wood Perce 1892-1975 stonewareview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Eldridge John 1904-1966 stoneware koala planterview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Kierle Samuel 1907-c1995 folk artistview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Choate Joseph 1899-1955 stonewareview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Gorringe Mary Ann 1839-? samplerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
White Mary 1869-? samplerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hampson Melissa quilt 1900-3view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hannaford Mary Jane 1840-1930 quilt 1924view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hannaford Mary Jane 1840-1930 quilts c1910 and 1924view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Huppatz Nettie 1915-1987 quilt 1932view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
King Rebecca 1859-1915 quilt c1890view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Kettle Maud 1893-1983 rug c1941view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hamilton Quliters The 1986view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hanrahan Barbara - Barbara Hanrahan Community Tapestry 2000view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Barbara Hanrahan Community Tapestry 2000view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Wiseman Gwenda banner 1983view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Whitbread Edgar d1958 bannerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Barrkman Joanna and Christina Yambeing bannerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Yambeing Christina and Joanna Barrkman bannerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Krell Barbara b1949 challah coverview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Howe Iris 1905-1998 shell gardenview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Warwick James and Caroline photo of their Old Curiosity Shopview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Old Curiosity Shop - Warwick and Caroline Jamesview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Lowey Joseph Reginald 1911-1983 cactus gardenview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Capaldo Germano c1910-1996 fountain gardensview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Clarke George 1918-2000 gardenview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Taankink Martin b1953 Tarpeena Fairy Tale Parkview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Tarpeena Fairy Tale Park - Martin Taankink b1953 view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Zuiderwyk Jack 1915-c1996 model villageview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Bosley Thomas George Dufty 1867-1945 gnome, plaque, etcview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Smith Ron and Sally Gray railway station decoration 2001view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Gray Sally and Ron Smith railway station decoration 2001view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Browne Richard 1776-1824 emu watercolourview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Bolger John 1776-1839 Wolloomoolloo watercolourview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Dowling Robert 1827-1886 Minjah in the Old Time 1856 oilview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Duterrau Benjamin 1767-1851 The Conciliation 1840view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Skipper John Michael 1815-1883 Corroboree c1840view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Backler Joseph c1813-1895 portrait of Emily Louisa Kiteview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Tjapanangka Long Tom c1930-2006view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Munuwalawala Ginger Riley c1937-2002view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Riley Ginger see Munuwalawala Ginger Riley c1937-2002view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
McLean Panjiti Maryview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Abdullah Ian W 1947-2011 drive in theatreview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Wedge Harry 1952-2012view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Tucker Alan b1952view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Bastin Henri 1897-1979 view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Byrne Sam 1883-1978view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Frame Iris 1915-2003view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Robson Ivy 1901-1976 Suffer Little Children, oil, c1970view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Ban Vitorio 1935-2008 oil Mona Lisa 1995view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Bekos Anastasia b1946 Pier Day, oil, 1994view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Mehran Abbas b1946view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Kalentzis John b1958view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Galovic Michael b1949view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Galovic Michael b1949 icon of Mary MacKillop 1995view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Rushby Charlotte 1833-1914 model of a settler’s hut c1855view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Withnell John 1825-1898 chair 1864view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Wridgeway Vic 1898-1989 walking sticksview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Gore Mary Jane 1858-1944 model of a bullock team 1879view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Zilm Wilhelm 1860-1932 chairsview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Pumpa Paul 1908-1994 hawk 1985view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Wallace David b1969 stockman and horse 1997view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Boon Arthur 1882-c1957 chairview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Brandt Lewis T 1910-1987 car doorview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Plavenieks Voldemars c1905-1995 sculpturesview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Aisen Charles 1900-1991 model makerview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Rusconi Frank 1874-1964 model maker inc Dog on the Tucker Box 1932view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Sergeef Germogen Ilyich 1900-1979 planetarium c1977view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Aili Erminio 1905-1987 view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Olah Sandor b1936? sculptorview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Lara-Gomez Fransisco Javier 1954-1997 modelview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Gastaldo Damiano (Gus) 1871-1952 dog sculpureview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Amber Rex Kitchener 1915-1988 sculpture 1985view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Curtis Joe 1933-2015 sculptureview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Gilders Kevin b1940 tree sculptures c1998view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Alferink Cornelis Johan b1945 sculpturesview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Talc Alf aka Alferink Cornelis Johan b1945 sculpturesview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Grotjahn Arno b1930 wall paintingview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Morgan Glenn b1955 paintingview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Torrisi Mario b1932 Sicilia chairview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Midwood Tom 1854-1912 huon pine figureview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Harpis Daniel b1978view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Pearse Mark 1941-2019 terracotta figure 2000view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Wilson Ray b1936 modelview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Golda Agnieszka b1969view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Sampie Bonnie b1936view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Pamulkan Uki 1912-1980view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Kngwarreye Lilly b1955view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Puatjimi Mark b1964view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Thancoupie 1936-2011 stoneware bowlview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Entata Irene Mbitjana b1946view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Watson Janet c1910-c1980 fibre aeroplanesview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Pautjima Marie Evelyn b1945 basketsview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Roberts Bluey b1948 carved emu eggview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Hart Peter b1939 meat safeview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Ralph David b1946 chairview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Cavalan Peter b1954 medalview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Heading Robert b1954 paintings from soft drink cans etcview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Jones Stephen sculpture of Ned Kellyview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Kelly Paul b1931 big lobster 2019view full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Kabi 101 b1970 graffitiview full entry
Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.
Graham Bob b1942view full entry
Reference: see Bellmans auction, UK, 15 July, 2021, lot 566: GRAHAM, Bob (b. 1942). A collection of 75 original pen, ink and grey wash drawings.

GRAHAM, Bob (b. 1942, illustrator). A collection of 75 ORIGINAL PEN, INK AND GREY WASH DRAWINGS BY BOB GRAHAM for Iona and Peter Opie’s Babies. An Unsentimental Anthology (London, 1990), various sizes, the largest 150 x 350mm., 68 contained in 6 frames, the remainder loose. Also included in the lot is a copy of the published book, a postcard by Bob Graham to Wendy Fisher (“The book was great fun to illustrate (once I had stopped worrying about my exalted company. Shakespeare, Jane Austen, and Queen Vic no less) …”) and a ring binder containing material relating to the book labelled “Interim MS.” Born in Sydney, where he attended the Julian Ashton Art School, the illustrator Bob Graham won the Kate Greenaway Medal, awarded annually for "distinguished illustration in a book for children", in 2002.
huntingview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
kangaroo huntsview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Parkinson Sydneyview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Stubbs George kangarooview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Smyth Arthur Bowesview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Stone Sarahview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Mazell Peterview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Hunter Johnview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Lycett Joseph various refs p26-45view full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Clark John Heavisideview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Lewin John William view full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Taylor Major James in passingview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Evans George William 3 refsview full entry
Reference: see The Colonial Kangaroo Hunt, by Ken Gelder, Rachael Weaver. Illustrated. Some biographical information on the artists whose works are illustrated.
[’From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people. The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.’]



Publishing details: MUP, 2020, pb, 229pp with notes, bibliography and index
Made In Fitzroy: Exhibition 3: Three Australian Sculptorsview full entry
Reference: Made In Fitzroy: Exhibition 3: Three Australian Sculptors. Catalogue for Exhibition 3 of the Regional Development Program. Documents the development of a sculptural work by Augustine Dall'ava, Geoffrey Bartlett, and Anthony Pryor.
Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1978.
First Edition.
21cm x 24cm. [62] pages, black and white illustrations. Pictorial wrappers.

Ref: 146
Dall'ava Augustineview full entry
Reference: see MADE IN FITZROY: EXHIBITION 3: THREE AUSTRALIAN SCULPTORS. Catalogue for Exhibition 3 of the Regional Development Program. Documents the development of a sculptural work by Augustine Dall'ava, Geoffrey Bartlett, and Anthony Pryor.
Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1978.
First Edition.
21cm x 24cm. [62] pages, black and white illustrations. Pictorial wrappers.

Bartlett Geoffrey view full entry
Reference: see MADE IN FITZROY: EXHIBITION 3: THREE AUSTRALIAN SCULPTORS. Catalogue for Exhibition 3 of the Regional Development Program. Documents the development of a sculptural work by Augustine Dall'ava, Geoffrey Bartlett, and Anthony Pryor.
Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1978.
First Edition.
21cm x 24cm. [62] pages, black and white illustrations. Pictorial wrappers.

Pryor Anthony view full entry
Reference: see MADE IN FITZROY: EXHIBITION 3: THREE AUSTRALIAN SCULPTORS. Catalogue for Exhibition 3 of the Regional Development Program. Documents the development of a sculptural work by Augustine Dall'ava, Geoffrey Bartlett, and Anthony Pryor.
Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1978.
First Edition.
21cm x 24cm. [62] pages, black and white illustrations. Pictorial wrappers.

IN THE LABYRINTH: DRAWINGS BY PETER BOOTH AND MIKE BROWN
view full entry
Reference: IN THE LABYRINTH: DRAWINGS BY PETER BOOTH AND MIKE BROWN. Exhibition 7

Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1980.
First Edition.
21cm x 24cm. 54 pages, illustrations, some colour. Illustrated wrappers.
Ref: 1000
BOOTH Peter
view full entry
Reference: see IN THE LABYRINTH: DRAWINGS BY PETER BOOTH AND MIKE BROWN. Exhibition 7

Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1980.
First Edition.
21cm x 24cm. 54 pages, illustrations, some colour. Illustrated wrappers.
BROWN MIKE view full entry
Reference: see IN THE LABYRINTH: DRAWINGS BY PETER BOOTH AND MIKE BROWN. Exhibition 7

Publishing details: Sydney: Australia Council, Regional Development Program, Visual Arts Board, 1980.
First Edition.
21cm x 24cm. 54 pages, illustrations, some colour. Illustrated wrappers.
Nona Dennisview full entry
Reference: MULUKA PYBAN (PASSING DOWN) -
Dennis Nona
Publishing details: Brisbane: Andrew Baker Art Dealer, 2009.
First Edition.
21cm x 21cm. [60] pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Marcus Donnaview full entry
Reference: Gold, Silver & Rough Diamonds. Donna Marcus

Publishing details: Brisbane: Andrew Baker Art Dealer, 2019. 26 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Marcus Donnaview full entry
Reference: Bolt. Donna Marcus

Publishing details: Brisbane: Andrew Baker Art Dealer, 2017. 26 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Hayes Cameron view full entry
Reference: Cameron Hayes. Exhibition catalogue for Australian painter Cameron Hayes (1969-) solo show at Ronald Feldman Fine Arts, New York.
Publishing details: New York: Ronald Feldman Fine Arts, 2004. 50 pages, colour illustrations. Illustrated wrappers.

Ref: 1000
New Alchemistsview full entry
Reference: New Alchemists. Alicia King curator.
ART ORIENTÉ OBJET (MARION LAVAL-JEANTET AND BENOIT MANGIN)
ORON CATTS & IONAT ZURR
IAN HAIG
NADEGE PHILLIPE-JANON
MICHAELA GLEAVE
THOMAS THWAITES,
LU YANG
[’“I’m interested in the social impact of technology and the way it is incorporated into our collective vision under the premise of being innately symbiotic to maintaining human life,” says curator Alicia King. “The intent of the show isn’t to either glorify or condemn the use of technologies addressed in the works – it’s really exploring a spectrum of approaches to life from the machinic to the visceral – at times challenging, absurd, and insightful.” Curator Dr Alicia King
Putting forward the artist as contemporary alchemist, the selected works invite audiences to channel experiences beyond our accessible human and non-human worlds. They include:
A digital print of ‘Victimless Leather’ by internationally renowned biological artists Oron Catts and Ionat Zurr from the collaborative art-science research centre SymbioticA.
A video work by media artist Lu Yang exploring consciousness and the human brain through the re-envisaging of the artist as a digitised and asexual future humanoid being. Yang’s work recently represented China at the 2015 Venice Biennale.
A new work by UK based artist Thomas Thwaites, known for his Channel 4 series From Scratch, exploring how humans may augment themselves in the future through prostheses created to help him live with another species – a goat herd in the Swiss Alps.
A video work by French bioart pioneers Art Orienté Objet, of their experimental performance transfusing horse blood into an artist’s bloodstream. The work was awarded the prestigious Prix Ars Electronica Golden Nica prize.’]

Publishing details: Hobart: Long Gallery, Salamanca Arts Centre, 2016.
First Edition. 28 pages, colour illustrations. Illustrated saddle-stapled wrappers, lettered jacket.
Ref: 1000
Viola Tusk 4view full entry
Reference: Viola Tusk 4
Claine Keily, Clair Hague, Javant Biarujia, Misha, Philip Sipp, Russell Milledge

Limited edition artist book featuring words by Javant Biarujia, Claine Keily, Misha, and Philip Sipp. 5 mounted photo manipulation pieces by Clair Hague and Russell Milledge. Limited to 200 copies and signed by the press, this is number 119.
Publishing details: Sydney: Viola Tusk Press, 1990. [68] pages, [5] colour photographs. Wrappers.
Ref: 1000
Out of Asiaview full entry
Reference: Out of Asia. Group exhibition curated by Alison Carroll featuring Micky Allan, Geoff Lowe, Tony Clark, Fiona MacDonald, Matthys Gerber, Susan Norrie, Pat Hoffie, Robert Owen, Tim Johnson, and Gareth Sansom.
Publishing details: Melbourne: Heide Park and Art Gallery, 1990. 32 pages, black and white illustrations. Illustrated saddle-stapled wrappers.

Ref: 1000
Praxis: Volume 1 No. 1view full entry
Reference: Praxis: Volume 1 No. 1, Spring 2005: Construct [to be indexed]
Amy Smith, Helen Terauds, Holly Kiehne, Sonia Crawford, Val Howard

Australian artist collective book featuring work from 23 artists.
Publishing details: Praxis, 2005. 116 pages, black and white illustrations. Illustrated side-stapled papers, cloth tape spine
Ref: 1000
de Couvreur Genevieve view full entry
Reference: Infinite Vision: Paintings by Genevieve de Couvreur. “Essay and catalogue of the work of Genevieve de Couvreur. The deep reds, oranges and purples are completely immersive, drawing the viewer deep within the work to a contemplative space heightened by the colour’s intensity. Her work wrings every drop of light energy it can from the rainbow.”
Publishing details: Gold Coast: Keeaira Press, 2003. 32 pages, colour illustrations. Illustrated wrappers.
Ref: 1000
Songlinesview full entry
Reference: Songlines: Emerging Queensland Indigenous Artists. Michael Fox
“Songlines brings together the diverse practices of emerging and established contemporary Indigenous artists from across Queensland. The book features Clinton Nain, Jenny Fraser, Dita Brook, Tony Albert, Kathryn Farrell, Vanessa Fisher, Yvonne Anderson, Lisa Michl, Andrea Fisher, Walter Lui, Dennis Nona, Walter Waia, Arthur Pambegan, Rick Roser, Deb Pirard, Wilma Walker and the Woomera Aboriginal Corporation from Mornington Island.”
Publishing details: Gold Coast: Keeaira Press, 2003. 32 pages, colour illustrations. Illustrated wrappers.

Ref: 1000
Haunts & Folliesview full entry
Reference: Haunts & Follies, by Simon Mee
Catalogue for an exhibition of works by Penny Byrne, Sam Leach, Simon Mee, and Kate Rohde. Curated by Simon Mee.
Publishing details: Melbourne: Linden Centre for Contemporary Arts, 2012. 16 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000
Marioni / Macphersonview full entry
Reference: Marioni / Macpherson. Rex Butler
Exhibition catalogue of works by Joseph Marioni and Robert Macpherson with essays by Rex Butler, Ingrid Periz, and Michael Fried.

Publishing details: Brisbane: UQ Art Museum, 2013.
52 pages, colour illustrations. Illustrated french fold wrappers.
Ref: 1000
Marioni Joseph view full entry
Reference: see Marioni / Macpherson. Rex Butler
Exhibition catalogue of works by Joseph Marioni and Robert Macpherson with essays by Rex Butler, Ingrid Periz, and Michael Fried.

Publishing details: Brisbane: UQ Art Museum, 2013.
52 pages, colour illustrations. Illustrated french fold wrappers.
Macpherson Robert view full entry
Reference: see Marioni / Macpherson. Rex Butler
Exhibition catalogue of works by Joseph Marioni and Robert Macpherson with essays by Rex Butler, Ingrid Periz, and Michael Fried.

Publishing details: Brisbane: UQ Art Museum, 2013.
52 pages, colour illustrations. Illustrated french fold wrappers.
Austin Lincoln
view full entry
Reference: Joyride. Lincoln Austin
Publishing details: Brisbane: Andrew Baker Art Dealer, 2016. 26 pages, colour illustrations. Illustrated wrappers.

Ref: 1000
Fame Ruki view full entry
Reference: Kamano Man - Ruki Fame
Exhibition catalogue.
Publishing details: Brisbane: Andrew Baker Art Dealer, 2016. 26 pages, colour photographs. Pictorial saddle-stapled wrappers.
Ref: 1000
Lopes Steveview full entry
Reference: The Late Riser - Steve Lopes

Publishing details: Sydney: Stella Downer Fine Art, 2016.
.
Ref: 1000
Norton Charles 1826-1872view full entry
Reference: with Scheding Berry Fine Art c2012: Charles Norton (1826 -1872)
(’Monumental bush grave’) c1860s
watercolour
20.4 x 29.5 cm
For a similar example see McCulloch’s Encyclopedia of Australian Art, p737

References: Squatter Artist: Charles Norton, State Library of Victoria, 1989; Lost Images of Geelong, Geelong Gallery, 1986.

Norton Frank Meade b1845?view full entry
Reference: see National Galley of Australia catalogue:
Frank Meade Norton
born 1845
Blue Mountains, 1918, oil on canvas
Frame 46 h x 39 w cm
framed 41 h x 34 w cm
signed lower right: 'F. Meade Norton'
Credit Line
Bequest of Dr Lee MacCormick Edwards 2015


Isaacs Jeffview full entry
Reference: See Allbids auction: A Collection of Paintings and Works on Paper by Local Artist Jeff Isaacs. Closing Thursday 22 July, 2021.
Born and educated in South Africa, Isaacs attended Art School in Johannesburg, working as an illustrator in Cape Town before moving into advertising in Ghana and Nigeria.
He migrated to Australia in 1967 and worked in design studios in Sydney before moving to Canberra. After several years working as a graphic designer, he moved to the Department of Defence. His interest in painting was soon recognised and he was appointed as Defence Artist.
Jeff Isaacs was awarded the Medal of the Order of Australia in 1995 for his contribution to Art and Australian Defence Heritage .
His works are nationally and internationally recognised, his art is on display in the Pentagon, the National Collection of Papua New Guinea and other collections in Australia and overseas. Her Majesty the Queen Mother was presented with one of Isaac’s works in 1988 and many of his paintings hang in defence establishments around Australia.
One of his paintings was used in a limited edition of prints celebrating the Australian Army Centenary in 2001. Copies were presented to the Governor General, the Prime Minister and the Australian War Memorial.
Isaacs’ paintings and drawings were used to illustrate many books including Australian Defence Heritage, The Spirit of Anzac, High Flyers, Return to Greece, Diggers, Australia Remembers and Canberra Sketchbook.
Jeff's love of landscapes and animals has taken him to many African countries as well as Borneo and the Antarctic. He is dedicated through his wildlife art to protecting endangered species and donates to various charities that support this cause.
Arago Jacquesview full entry
Reference: see Trillium Antique Prints & Rare Books
July 24, 2021, Franklin, TN, US, lot Lot 33025: Arago - Savage of New Holland coming from Battle (Australian Aborigine)
‘This historic lithograph is from Jacques Arago's Narrative of a Voyage round the World, in the Uranie and Physicienne Corvettes commanded by Captain Freycinet, during the Years 1817, 1818, 1819, and 1820. The work was published in London by Treuttel and Wurtz in 1823.

This work serves as an account of Freycinet's voyage of scientific exploration. His voyage was one of the most important French 19th century circumnavigations of the globe. Many zoological and botanical specimens were collected on the voyage by naturalist-surgeons: Jospeh Paul Gaimard and Jean Rene Constant Quoy. Jacques Arago was the artist for the work. Freycinet also smuggled his wife, Rose, on board the ship making it the first time a woman circumanvigated the globe.

"The Uranie, with a crew of 125 men, entered the Pacific from the West to make scientific observations on geography, magnetism, and meteorology. Arago was the artist of the expedition which visited most notably Australia, the Hawaiian Islands, Tonga, and Tierra del Fuego. The original ship, wrecked off the Falkland Islands, was replaced by the Physicienne which visited Rio de Janeiro. Captain Louis Freycinet's wife, Rose, was smuggled on board at the advent of the voyage and made the complete journey, causing a great deal of discord among the crew. Freycinet named the island he discovered after her - Rose Island, among the Samoa Islands." (Hill pp.9-10)

"This later circumnavigation by Captain Freycinet was organized by the French government, under the recently restored Bourbon Dynasty, to show the flag around the world and to make scientific observations on geography, magnetism, and meteorology. It was one of the important voyages of exploration of the early nineteenth century. The URANIE sailed from Toulon to Gibraltar, Tenerife, Rio de Janeiro, Cape of Good Hope, Mascarene Islands, Western Australia, Timor, New Guinea, the Mariana Islands, Caroline Islands, Sandwich Islands, New South Wales, New Zealand, Tierra del Fuego, and the Falkland Islands, where the URANIE was shipwrecked in French Bay....The ship's doctors, Quoy and Gaimard, and the pharmacist Gaudichaud served as the naturalists, collected specimens, and published separate volumes on zoology and botany. Freycinet was clandestinely accompanied by his wife, Rose, after whom he named an island in the Samoan chain....The scientific results of Freycinet's explorations in Timor, the islands off New Guinea, the Marianas, and Hawaii were particularly significant and added greatly to the fund of knowledge that the Europeans had of the geography, cultures, and histories of these areas. The writings on the penal colony of Port Jackson, Australia, are of special historic importance" - Hill. The voyage included a one-month visit in the Sandwich Islands, with time spent in Hawaii, Maui, and Oahu, as well as visits to Rio de Janeiro, Cape of Good Hope, Montevideo, Mauritius, New South Wales, and the Caroline Islands. The handsome plates in the atlases, many of which are colored, add greatly to the ethnographic and natural historical aspect of the work." (Ferguson 941, Hill 649, Sabin 25916, Forbes 602)

Paper Size ~ 8" by 10 1/4"
Dimensions
~ 8" by 10 1/4"
Artist or Maker
Jacques Arago
Medium
Lithograph with Recent Professional Hand-coloring
Date
1823

Freycinetview full entry
Reference: see Trillium Antique Prints & Rare Books
July 24, 2021, Franklin, TN, US, lot Lot 33025: Arago - Savage of New Holland coming from Battle (Australian Aborigine)
‘This historic lithograph is from Jacques Arago's Narrative of a Voyage round the World, in the Uranie and Physicienne Corvettes commanded by Captain Freycinet, during the Years 1817, 1818, 1819, and 1820. The work was published in London by Treuttel and Wurtz in 1823.

This work serves as an account of Freycinet's voyage of scientific exploration. His voyage was one of the most important French 19th century circumnavigations of the globe. Many zoological and botanical specimens were collected on the voyage by naturalist-surgeons: Jospeh Paul Gaimard and Jean Rene Constant Quoy. Jacques Arago was the artist for the work. Freycinet also smuggled his wife, Rose, on board the ship making it the first time a woman circumanvigated the globe.

"The Uranie, with a crew of 125 men, entered the Pacific from the West to make scientific observations on geography, magnetism, and meteorology. Arago was the artist of the expedition which visited most notably Australia, the Hawaiian Islands, Tonga, and Tierra del Fuego. The original ship, wrecked off the Falkland Islands, was replaced by the Physicienne which visited Rio de Janeiro. Captain Louis Freycinet's wife, Rose, was smuggled on board at the advent of the voyage and made the complete journey, causing a great deal of discord among the crew. Freycinet named the island he discovered after her - Rose Island, among the Samoa Islands." (Hill pp.9-10)

"This later circumnavigation by Captain Freycinet was organized by the French government, under the recently restored Bourbon Dynasty, to show the flag around the world and to make scientific observations on geography, magnetism, and meteorology. It was one of the important voyages of exploration of the early nineteenth century. The URANIE sailed from Toulon to Gibraltar, Tenerife, Rio de Janeiro, Cape of Good Hope, Mascarene Islands, Western Australia, Timor, New Guinea, the Mariana Islands, Caroline Islands, Sandwich Islands, New South Wales, New Zealand, Tierra del Fuego, and the Falkland Islands, where the URANIE was shipwrecked in French Bay....The ship's doctors, Quoy and Gaimard, and the pharmacist Gaudichaud served as the naturalists, collected specimens, and published separate volumes on zoology and botany. Freycinet was clandestinely accompanied by his wife, Rose, after whom he named an island in the Samoan chain....The scientific results of Freycinet's explorations in Timor, the islands off New Guinea, the Marianas, and Hawaii were particularly significant and added greatly to the fund of knowledge that the Europeans had of the geography, cultures, and histories of these areas. The writings on the penal colony of Port Jackson, Australia, are of special historic importance" - Hill. The voyage included a one-month visit in the Sandwich Islands, with time spent in Hawaii, Maui, and Oahu, as well as visits to Rio de Janeiro, Cape of Good Hope, Montevideo, Mauritius, New South Wales, and the Caroline Islands. The handsome plates in the atlases, many of which are colored, add greatly to the ethnographic and natural historical aspect of the work." (Ferguson 941, Hill 649, Sabin 25916, Forbes 602)

Paper Size ~ 8" by 10 1/4"
Dimensions
~ 8" by 10 1/4"
Artist or Maker
Jacques Arago
Medium
Lithograph with Recent Professional Hand-coloring
Date
1823

Duperrey Louis-Isidore voyageview full entry
Reference: see Trillium Antique Prints & Rare Books
July 24, 2021, 10:00 AM CST
Franklin, TN, US, Lot 33022: Duperrey - Caroline Islands (Vue de l'Ile Oualan Prise du Havre de la Coquilld, Archipel des Iles Carolines). 49, This folio, hand-colored engraving is from Louis-Isidore Duperrey's Voyage autour du monde, sur la corvette La Coquille, pendant les années 1822-25, sous le ministère et conformement aux instructions de ... ministre de la marine; et publié sous les auspices de M. le Cte. de Chabrol, ministre de la marine et des Colonies. The work was published in Paris by by Firmin Didot for A. Bertrans between 1826 and 1830. The work illustrated costumes, landscapes, and exotic animals encountered on the voyage.

The voyage, led by Duperrey, concentrated on the exploration of the Pacific. He had 'already circumnavigated the globe under Freycinet. Dumont d'Urville, who would later lead his own expeditions in the Pacific, was Duperrey's second-in-command, Réné Lesson was the naturalist on the voyage. The Coquille called at Brazil, the Falkland Islands, Concepciõn, Callao, and Payta. The Pacific islands visited were the Tuamotu Archipelago, Tahiti and the Society Islands, Tonga, Rotuma, the Gilbert and Caroline Islands, and the Bismarck Archipelago. Australia was visited twice, and explorations made of New Zealand and the Maoris were of particular significance. Vast quantities of ethnographic and scientific data were collected. Before returning to Marseilles, Java, Mauritius, and Ascension were visited" (Hill p.90).
Dimensions
~ 19 1/2" by 13"
Artist or Maker
Louis-Isidore Duperrey
Medium
Originally Hand-colored Engraving
Date
1826-1830
Murphy Michael b1943view full entry
Reference: see The Rug Life Auctions, Virginia, USA,
July 20, 2021, 3:00 PM EST
Glen Allen, VA, US, Lot 68: MICHAEL MURPHY (1943-Now) ORIGINAL WATERCOLOR ON PAPER, MEASURING 22in x 26in.,
Original watercolor on paper by Michael Murphy (1943-Now). This is an original watercolor on paper showing a streetcar on a street at night, and it came from a Virginia estate. It measures 22in x 26in x 1in, it is signed, matted and framed.
Artist or Maker
Michael Murphy
Medium
Watercolor painting on Paper
Date
1970
Condition Report
Excellent
Provenance
Acquired from a Virginia Estate.
Notes
About The Artist: Michael Murphy (1943-Now) is an South African artist. He was born in England in 1943. In 1950 his family emigrated to South Africa. In 1960 he started work in the commercial art field. In 1984 he studied fine art painting at the Port Elizabeth Technicon in South Africa and started painting professionally in 1985. In 2000 he moved to Australia and after spending a few years in Sydney, he now live and work in Mandurah, Western Australia. His works are in public and private collections in South Africa, England, France, Netherlands, Switzerland, Germany, Italy, America, Singapore and Australia.
Wilks Maxwell b1944view full entry
Reference: see Cheffins auction, July 29, 2021, Cambridge, United Kingdom, Lot 243: Maxwell Wilks (Australian 1944-) Crops, Field signed 'MAXWELL WILKS' (lower left) oil on canvas 44.5 x 49.5cm
Rendle-Short Hephzibah view full entry
Reference: see Cheffins auction, July 29, 2021, Cambridge, United Kingdom, Lot 28, Hephzibah Rendle-Short (Australian contemporary) Birds by a window oil on board, unframed 123 x 92cm
Henderson John c1850 aka John Henderson MacDonaldview full entry
Reference: Excursions and adventures in New South Wales : with pictures of squatting and of life in the bush : an account of the climate, productions, and natural history of the colony, and of the manners and customs of the natives, with advice to emigrants, &c. / by John Henderson.
ILLUSTRATIONS:
VOL . I. 
VIEW OF SYDNEY . Engraved from an 
original sketch by Mrs. Lowe , by Hamerton MAP OF NEW SOUTH WALES . Engraved by Netherclift 
GUNYAS inhabited by the Author at 
Elsineur. Engraved from a sketch by the Author, by E. V. Campbell 
VOL . II . 
VIEW FROM THE AUTHOR'S RESIDENCE AT ELSINEUR . 
Engraved from a sketch by the Author, by 
Hamerton 
INTERIOR OF HOUSE ELSINEUR . 
Engraved from a sketch by the Author, by E. V. Campbell 


Publishing details: London : W. Shoberl, 1851, 2 volumes : illustrations (some colour), 1 map
Ref: 1000
Campbell  E Vview full entry
Reference: see Excursions and adventures in New South Wales : with pictures of squatting and of life in the bush : an account of the climate, productions, and natural history of the colony, and of the manners and customs of the natives, with advice to emigrants, &c. / by John Henderson.
ILLUSTRATIONS:
VOL . I. 
VIEW OF SYDNEY . Engraved from an 
original sketch by Mrs. Lowe , by Hamerton MAP OF NEW SOUTH WALES . Engraved by Netherclift 
GUNYAS inhabited by the Author at 
Elsineur. Engraved from a sketch by the Author, by E. V. Campbell 
VOL . II . 
VIEW FROM THE AUTHOR'S RESIDENCE AT ELSINEUR . 
Engraved from a sketch by the Author, by 
Hamerton 
INTERIOR OF HOUSE ELSINEUR . 
Engraved from a sketch by the Author, by E. V. Campbell 


Publishing details: London : W. Shoberl, 1851, 2 volumes : illustrations (some colour), 1 map
Lowe Mrs c1850view full entry
Reference: see Excursions and adventures in New South Wales : with pictures of squatting and of life in the bush : an account of the climate, productions, and natural history of the colony, and of the manners and customs of the natives, with advice to emigrants, &c. / by John Henderson.
ILLUSTRATIONS:
VOL . I. 
VIEW OF SYDNEY . Engraved from an 
original sketch by Mrs. Lowe , by Hamerton MAP OF NEW SOUTH WALES . Engraved by Netherclift 
GUNYAS inhabited by the Author at 
Elsineur. Engraved from a sketch by the Author, by E. V. Campbell 
VOL . II . 
VIEW FROM THE AUTHOR'S RESIDENCE AT ELSINEUR . 
Engraved from a sketch by the Author, by 
Hamerton 
INTERIOR OF HOUSE ELSINEUR . 
Engraved from a sketch by the Author, by E. V. Campbell 


Publishing details: London : W. Shoberl, 1851, 2 volumes : illustrations (some colour), 1 map
Hamerton c1850view full entry
Reference: see Excursions and adventures in New South Wales : with pictures of squatting and of life in the bush : an account of the climate, productions, and natural history of the colony, and of the manners and customs of the natives, with advice to emigrants, &c. / by John Henderson.
ILLUSTRATIONS:
VOL . I. 
VIEW OF SYDNEY . Engraved from an 
original sketch by Mrs. Lowe , by Hamerton MAP OF NEW SOUTH WALES . Engraved by Netherclift 
GUNYAS inhabited by the Author at 
Elsineur. Engraved from a sketch by the Author, by E. V. Campbell 
VOL . II . 
VIEW FROM THE AUTHOR'S RESIDENCE AT ELSINEUR . 
Engraved from a sketch by the Author, by 
Hamerton 
INTERIOR OF HOUSE ELSINEUR . 
Engraved from a sketch by the Author, by E. V. Campbell 


Publishing details: London : W. Shoberl, 1851, 2 volumes : illustrations (some colour), 1 map
Netherclift engraver c1850view full entry
Reference: see Excursions and adventures in New South Wales : with pictures of squatting and of life in the bush : an account of the climate, productions, and natural history of the colony, and of the manners and customs of the natives, with advice to emigrants, &c. / by John Henderson.
ILLUSTRATIONS:
VOL . I. 
VIEW OF SYDNEY . Engraved from an 
original sketch by Mrs. Lowe , by Hamerton MAP OF NEW SOUTH WALES . Engraved by Netherclift 
GUNYAS inhabited by the Author at 
Elsineur. Engraved from a sketch by the Author, by E. V. Campbell 
VOL . II . 
VIEW FROM THE AUTHOR'S RESIDENCE AT ELSINEUR . 
Engraved from a sketch by the Author, by 
Hamerton 
INTERIOR OF HOUSE ELSINEUR . 
Engraved from a sketch by the Author, by E. V. Campbell 


Publishing details: London : W. Shoberl, 1851, 2 volumes : illustrations (some colour), 1 map
Abbott Maryview full entry
Reference: This artist is listed in Australian Art Sales Digest (AASD), as at July, 2021, with at least the following information: Gender: F, 1906-96, Australia, 4 works listed. AASD (online) lists auction sale information on over 20,000 Australian and NZ artists and includes biographical and bibliographical information on many of the artists. AASD also lists auction houses and commercial galleries in Australia and NZ and publishes articles and other information on the art market.

Publishing details: https://www.aasd.com.au
Ferguson John photographerview full entry
Reference: see Sydney Rare Book Auctions
July 30, 2021, Ultimo, Australia, lot 143: Four magnificent photo albums. These were the property of the Rev John Ferguson. He was the minister in charge of St Stephens Presbyterian Church in Sydney. He made a tour to Europe in the 1910s and met the Pope which caused great controversy in Australia. Ferguson was the father of the great Australian bibliographer Sir John Ferguson. The four albums are bound in half leather and cloth covered boards with all edges gilt and marbled endpapers. They are in very good condition. each page measures 30 x 38 cm and most of the albumen prints measure 28 x 22 cm in Some pages have 2 prints on a page and these are of course smaller. Each page has a print on one side only. All told there are 80 full page black and white images, 25 full page colour prints and 40 smaller images. 105 albumen prints all in very good condition. Images are clear and sharp. Many are identified either printed at the bottom of the photograph or in pencil under the image. Most are scenes of buildings, monuments or scenery. Some are photographs of art works. All but a few are European. The last volume has a few photographs from Sri Lanka

Denton Sherman Footeview full entry
Reference: Incidents of a Collector's Rambles in Australia, new Zealand and new Guinea by Sherman F Denton with illustrations by the Author. [Aboriginal and Maori content with illustrations].
Publishing details: Boston lee and Shepherd 1889.
Ref: 1000
Voyagers: The Settlement of the Pacificview full entry
Reference: Voyagers: The Settlement of the Pacific
By Nicholas Thomas .
[’An award-winning scholar explores the sixty-thousand-year history of the Pacific islands in this dazzling, deeply researched account.
The islands of Polynesia, Melanesia, and Micronesia stretch across a huge expanse of ocean and encompass a multitude of different peoples. Starting with Captain James Cook, the earliest European explorers to visit the Pacific were astounded and perplexed to find populations thriving thousands of miles from continents. Who were these people? From where did they come? And how were they able to reach islands dispersed over such vast tracts of ocean?

In Voyagers, the distinguished anthropologist Nicholas Thomas charts the course of the seaborne migrations that populated the islands between Asia and the Americas from late prehistory onward. Drawing on the latest research, including insights gained from genetics, linguistics, and archaeology, Thomas provides a dazzling account of these long-distance migrations, the seagoing technologies that enabled them, and the societies they left in their wake.’]
Publishing details: Head of Zeus, 228 pages, hc, dw, with index
Corrigan Pat Collectionview full entry
Reference: The Pat Corrigan collection of art related books, letters and photographs, paintings and drawings. Includes rare and important Norman Lindsay memorabilia. Auction catalogue at Sotheby's. 29 April 1998. The catalogue begins with an essay acknowledging Patrick Corrigan's contribution to the Australian arts, the library is notably associated with the Lindsay family, in particular, Norman. Letters, drawings and limited editions construct the story of Australian art in the most personal way's Sotheby's Australia, 1998. Includes all members of the Lindsay family and about 60 to do with Norman Lindsay's work, photographs, publications and letters.
Publishing details: Sotheby’s Australia, 29 April, 1998
Ref: 1000
Pat Corrigan Collectionview full entry
Reference: see The Pat Corrigan collection of art related books, letters and photographs, paintings and drawings. Includes rare and important Norman Lindsay memorabilia. Auction catalogue at Sotheby's. 29 April 1998. The catalogue begins with an essay acknowledging Patrick Corrigan's contribution to the Australian arts, the library is notably associated with the Lindsay family, in particular, Norman. Letters, drawings and limited editions construct the story of Australian art in the most personal way's Sotheby's Australia, 1998. Includes all members of the Lindsay family and about 60 to do with Norman Lindsay's work, photographs, publications and letters.
Publishing details: Sotheby’s Australia, 29 April, 1998
Lindsay Normanview full entry
Reference: see The Pat Corrigan collection of art related books, letters and photographs, paintings and drawings. Includes rare and important Norman Lindsay memorabilia. Auction catalogue at Sotheby's. 29 April 1998. The catalogue begins with an essay acknowledging Patrick Corrigan's contribution to the Australian arts, the library is notably associated with the Lindsay family, in particular, Norman. Letters, drawings and limited editions construct the story of Australian art in the most personal way's Sotheby's Australia, 1998. Includes all members of the Lindsay family and about 60 to do with Norman Lindsay's work, photographs, publications and letters.
Publishing details: Sotheby’s Australia, 29 April, 1998
Australian women artists : first fleet to 1945view full entry
Reference: Australian women artists : first fleet to 1945 : history, hearsay and her say, by Caroline Ambrus. Includes bibliographical references (p. 231-234) and index. [To be indexed urgently]
Publishing details: Woden, A.C.T. : Irrepressible Press, c1992, x, 246 p. : ill. (some col.)
Austin J G - Austin’s views of Sydneyview full entry
Reference: advertised and described in The Sydney Monitor, Wed 20 April, 1836, Page 4 


AASDview full entry
Reference: AASD - Australian Art Sales Digest (online) lists auction sale information on over 20,000 Australian and NZ artists and includes biographical and bibliographical information on many of the artists. AASD also lists auction houses and commercial galleries in Australia and NZ and publishes articles and other information on the art market. [Indexed to July 2021 - to be updated]
Publishing details: aasd.com.au
Australian Art Sales Digest - AASDview full entry
Reference: AASD - Australian Art Sales Digest (online) lists auction sale information on over 20,000 Australian and NZ artists and includes biographical and bibliographical information on many of the artists. AASD also lists auction houses and commercial galleries in Australia and NZ and publishes articles and other information on the art market. [Indexed to July 2021]
Publishing details: aasd.com.au
Auction sales - Australian Art Sales Digest - AASDview full entry
Reference: AASD - Australian Art Sales Digest (online) lists auction sale information on over 20,000 Australian and NZ artists and includes biographical and bibliographical information on many of the artists. AASD also lists auction houses and commercial galleries in Australia and NZ and publishes articles and other information on the art market. [Indexed to July 2021]
Publishing details: aasd.com.au
colonial artview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Patronage of the arts 19th centuryview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Elyard Samuelview full entry
Reference: see Diary in the Mitchell Library
Publishing details: ML MSS 594/2
MacLeod Williamview full entry
Reference: see sketchbooks in the Mitchell Library
Publishing details: ML MSS B1368
Martens Conradview full entry
Reference: see Notes on Painting 1835-1877 in the Dixson Library plus letters and letterbook
Publishing details: MS 143 and 143 144 and MSQ 313 item 2
Russell Robertview full entry
Reference: Correspondence
Publishing details: La Trobe Library
Ironside Adelaideview full entry
Reference: see Adelaide Ironside and the wentworths
Publishing details: Historic Houses Trust of NSW Newsletter, 1987
lithographsview full entry
Reference: see ‘Australia’s First Lithographs’ by Roger Butler [to be indexed]
Publishing details: The Australian Connoisseur and Collector, No. 3, 1982 pp 94-99
Ref: 1000
Nineteenth Century Paintings from Private Collectionsview full entry
Reference: Nineteenth Century Paintings from Private Collections in the Central West [to be indexed?]
Publishing details: Central West Branch Women’s Committee, National Trust of Australia (NSW), 1980
Ref: 1009
Dexter Williamview full entry
Reference: William Dexter, article by Michael Watson in Art and Australia, Vol 24, no. 5, 1987, p378-82
Colonial Gothickview full entry
Reference: Colonial Gothick: The Gothic Revival in New South Wales 1800-1850. Exhibition catalogue, with scholarly treatise by Dr Joan Kerr on ecclesiastical architecture as well as detailed descriptions of the oils, watercolours, photographs and other images of ecclesiastical architecture of the Gothic Revival period in New South Wales 1800-1850. Catalogued as well are furniture, ladies sketchbooks and books of the period.
Publishing details: Elizabeth Bay House Trust, Sydney, 1979, Soft cover; quarto (26 x 20 cm); 58 pages. Size: 4to
Ref: 1000
Abrahams Charlesview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Allport Henry Curzonview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Anderson Jamesview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Angas George Frenchview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Baker William Kellettview full entry
Reference: see DAAO: William Kellett Baker b. c.1806. Also known as I. W. R.
Artist (Printmaker)
A trained engraver, William Kellett Baker sold lithographic - often unauthorised prints of works by well known colonial artists including William Henry Fernyhough. As a publisher and printer who also imported and sold books, Baker established a reading room and library above his printing office in 1844, offering access to his collection of international periodicals for the annual sum of 10 shillings. - engraver, printer, publisher and clerk, was born in Dublin, Ireland. He reached Sydney early in 1835 as an assisted emigrant and announced in February that he was starting business as an engraver, offering both lithographic and copperplate printing. Lack of business led to the acceptance of the position of clerk to the deputy inspector-general of hospitals. He resigned in 1845 after breaking his leg and being laid up for 12 months, but remained clerk to the medical board.
While officially employed at the hospital, Baker returned to publishing part-time. He became noted as a copperplate engraver and was commended in the Australian of 9 March 1841 for a presentation plate he engraved for the departing attorney-general, John Plunkett, being reported as 'well known to be a first rate engraver and therefore we need hardly say the inscriptions &c. are admirably executed and does the artist great credit’. On its formal presentation Baker received 'a valuable present’ from the attorney-general in return despite his social position as a tradesman (as was patronisingly noted).
In October 1840 Baker purchased E.D. Barlow 's lithographic apparatus and this enabled him to enter the market for views and portraits. Probably included were the plates or rights of use for several Barlow productions, although he did make unauthorised copies of Barlow’s work: disagreement over claims to a lithographic drawing of the Mayor’s Fancy Ball led to litigation in 1844. Also in October 1840, Baker published a series called Twelve Profile Portraits of the Aborigines . Despite being signed I.W.R. most were copied from William Henry Fernyhough 's original 1836 edition; others were very similar to Charles Rodius 's 1834 portraits.
A 'Cheap edition for the People’ of C.J. Lever’s Charles O’Malley: An Irish Dragoon (illustrated 6d, unillustrated 4d) was issued by Baker in 50 weekly numbers in 1842-43. These may have been partly illustrated by local artists since the Australian of 21 April 1842 understood that the lithographs were not to be confined to those of the original edition but extended to other scenes 'as may afford scope for the artists’ fancy’. Other works from Baker’s office include Fort Macquarie , Sydney Cove, N.S. Wales (c.1851) and Garden Island and the Domain from Lindsay , the last being 'Dedicated to Sir T.L. Mitchell [q.v.] by his obedient servant Mr. Baker’, Mitchell being the owner of this Darling Point house in 1841-45.
Like John Carmichael , Baker engraved scenes for advertisements. An example is his depiction of the Australian Brewery in Low’s Directory for 1844. Other productions included the Australian Atlas , charts, almanacs and the Australian Medical Journal (1846). Perhaps his most significant contribution was the illustrated journal Heads of the People (1847-48). Baker wrote his own biography in the 24th issue (25 March 1848) and illustrated it with his portrait. Sidelines at his business premises, 101 King Street East, included importing and selling books and prints and running a stationery warehouse. He established a general reading room above the printing office in 1844 and advertised a circulating library. This held newspapers and periodicals from Britain and Ireland as well as New South Wales. The subscription was 10s per annum after a 5s entrance fee.
In 1847 Baker lent seven paintings by such prominent local artists as Frederick Garling and Joseph Fowles (and the obscure W. Rider ) to the first exhibition of the Society for the Promotion of the Fine Arts in Australia. He was a subscriber to George French Angas 's South Australia Illustrated . He also wrote undistinguished verse, the Sydney Morning Herald of 24 January 1849 publishing his pious tribute to his Irish uncle.
The last official listing of William Baker in Sydney is in an 1851 directory, then he moved to Victoria. Melthorpe remembered him as 'one of the best natured, most lively and genial of men’ and provided the derivation of Baker’s nickname, 'Go a head’: 'It arose from his preaching the Gospel of Go-a-headism to the then drowsy, moping and insouciant body politic of Sydney’. The nickname reappeared on the Victorian goldfields in October 1853, noted by William Howitt when visiting White Hills, near Bendigo: 'There is a lending library close to the camp with this emblazonment in great letters all along its side – “Baker’s gold-diggers’ Go-a-head Library and Registration Office for New Chums”. It must be American.’
Baker retained links with New South Wales and was stated to be the proprietor of the Hibernian Printing Office in Sydney when his corpse was discovered near Mount Vincent in the Maitland district in January 1857. Death by 'apoplexy’ on 16 January was certified by Dr Wilton, and the news conveyed to his widow, Jane. She was represented at his funeral in East Maitland by their 19-year-old son, eldest of their seven surviving children. An appeal for the widow and young family was placed in Bell’s Life in Sydney on 31 January 1859, which commented that during 25 years in Australia Baker had been 'a very persevering and industrious man; and a slight tinge of eccentricity, with a love for taking part in the formation of numerous friendly societies, have made him widely known and respected’. Jane Baker later erected a tombstone over his grave in St Peter’s Old Burial Ground, East Maitland, 'in remembrance of his many private virtues and in gratitude to his brother masons of Maitland by whom he was kindly interred’.
Writers:
Neville, Richard
Date written:
1992
Last updated:
2011
Updated Oct. 19, 2011
Created Jan. 1, 1992

Atkinson Louisaview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Austin John Gview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)
Backler Josephview full entry
Reference: see The Artist and The Patron - Aspects of Colonial Art in New South Wales, [compiled by] Patricia R. McDonald and Barry Pearce, catalogue of an exhibition held 2 March-1 May 1988. Includes biographical information on approximately nearly artists. Includes bibliography, list of artists, list of lenders.
Publishing details: Art Gallery of NSW, 1988, pb, 187pp, ill. (some col.)


First | Previous | Record 108051 – 109050 of 158397 | Next | Last